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S I A T I 

E I 1 




2 002 

An Interview With the 

Paterfamilias of Pop-up 

Part Two of Three 

This is part two of a three-part interview conducted by 
Kate Sterling on August 25, 2001 at Intern isual Books in 
Santa Monica, California On May 9, 2002 Wally hunt 
added the following: "I think I should bring my fellow 
movable book friends up-to-date on me, Intervisual, and 
the world's most exciting movable book exhibition. 

"I am now Chairman of the Board, Emeritus of 
Intervisual Books, Inc. I have 3, 000, 000 shares of stock 
and a lot less responsibility running the company. Two 
new management people have accepted key positions. 
Louis Perlman is Chairman of the Board and Larry 
Nusbaum is CEO. Both have extensive management 
experience and are determined to help me get Intervisual 
back on the winning track. 

"Please put this date on your calendar. August 23, 
2002 will be the official reception for 'Pop Up! 500 Years 
of Moveable Books: Selections from the Waldo Hunt 
Collection. ' Members of the Movable Book Society are 
invited to attend the reception. The exhibition will run 
from August 23 until January 12, 2003 and will feature 
antique books from the University of California, Los 
Angeles, a rarified collection from the Waldo Hunt 
Museum and examples of the best books conceived and 
produced by leaders of the industry. The exhibition and 
reception are being held at the Los Angeles Central 
Library located at 630 W. 5' h Street, Los Angeles, 
California 90071. " 

K: You said that a few years ago you wouldn't consider 
doing a new book unless you could anticipate a 100,000 
print run and now that is 30,000. Why has it changed? 

W: Part of it is the strong dollar and part of it is that we 
don't have the American publishers who are ordering 
30-50,000 per title. We deal in dollars. We buy in dollars 
and we sell in dollars. So, you can say that if you buy in 
dollars, the printers will give you a better price because a 
dollar is worth more than the yen or whatever the currency 
is in that country. This year we may sell five million 
dollars internationally, and five years ago we were selling 
nine million internationally. The product may even be 
better now than it was then, but the market is tougher. 
Continued on page 21 

A Century of Magazine Movables 
(1901-2000): An Informal History 

Adie C. Pena 

City of Makati, the Philippines 

I would have missed the pop-up General Foods 
Cappuccino ad in the November 2000 issue of Glamour 
magazine if not for some thoughtful friends and relatives 
who called my attention to it. A girlfriend and a sister-in-law 
even went to the extent of sending me their copies. (A New 
York-based friend recently visited the Philippines for the 
holidays and brought me a year-old copy of the December 
2000 issue of Vanity Fair that, unknown to me, contained 
the same pop-up cup.) After all, Glamour and Vanity Fair 
aren't exactly regular reading fare for a middle-aged man 
like me. 

Thankfully, some of these collectibles get some amount 
of pre-publicity. "It's the stuff children's books are made of 
but it took almost a year, $3 million and 560 workers in 
Mexico and Columbia to produce." So goes the first line of 
a 1 5-year old newspaper article announcing the appearance 
of Transamerica Corporation's pop-up print ad in the 
September 8, 1 986 issue of Time magazine. 

Wouldn't it be convenient if all pop-up advertisements 
were accompanied by a write-up, advising collectors to be on 
the look-out for these three-dimensional paper 

Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, The Movable Book Society, P.O. 
Box 1 1654, New Brunswick, New Jersey 08906. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is August 15. 

Magazine movables, continued from page 1 

"commercials?" Jeannine Stein in a July 12, 2001 article 
in the Los Angeles Times wrote: "The July issue of InStyle 
magazine features a pop-up ad for new Bounty in a Box 
paper towels, a trial that will be repeated in People 
magazine in the fall." 

But, most often than not, we only get half the story. 
Which is bad news for the completists among us. The 
writer, in this instance, failed to mention that there are 
two versions of the InStyle Bounty ad, each one carrying 
a different headline with a pop-up box sporting a different 
design ~ one with flowers, the other with leaves. 

Really now, who has the time to read all these 
publications, hoping to come across an announcement for 
a forthcoming novelty print ad? Or, for that matter, hang 
around newsstands, opening every available magazine, 
expecting something to pop up? Well, I certainly don't. 
And so do hundreds of other movable enthusiasts. 

Reason perhaps why no one yet has attempted to write a 
comprehensive history of these paper-engineered ephemera 
— both editorial (e.g. illustrations, regular features) and 
commercial (e.g. print ads, inserts). 

For the past three years, the article below has been in 
my backburner. What follows is my best shot at putting some 
order to a hodge-podge of information and examples I've 
collected over time. Maybe someone out there will eventually 
fill in the gaps and ultimately write the definitive history of 
magazine movables. 

At the start of the 20th century, women's magazines 
were dominating the American periodical publishing 
business. Readers could choose among Ladies' (later 
renamed Woman's) Home Companion (first published in 
1 873), McCall 's Magazine ( 1 876), Ladies ' Home Journal 
(1883), Good Housekeeping (1885), and Vogue (1892). 
Designed likewise to appeal to their readers' children, these 
women's magazines often featured a variety of paper toys a 
child could cut out and assemble, from paper dolls and 
furniture to three-dimensional villages and Christmas 

The earliest movable I found within the pages of a 
magazine is in Woman's Home Companion. From 1910 to 
1915, Woman's Home Companion serialized a set of 
do-it-yourself movable books, based on The Surprise Book 
(by Clara Andrews Williams and illustrations by George 
Alfred Williams, Crowell Publishing Company), a 64-page 
volume with movable doors and die-cut pages that revealed 
images in the succeeding pages. Every month, a child was to 
carefully tear out a 1014 xI6" page from the magazine and 
follow the directions, e.g. "first trim the page on the outside 
black line; then ... cut out the black spots ... cut the three 
edges of the door so it will swing open on its hinges, etc." 

Continued on page 14 

MAM'S ffiOM H 


The Adventures of Jack and Betty Woman's Home Companion magazine (January 1912), 
uncut sheet (.February 1912), and assembled movable booklets (1910-1915). 

Structural Firsts 

Frank Ossmann 
Essex, Connecticut 

As a pioneer in the dimensional marketing industry for 
over 25 years, Structural Graphics has created and 
produced a number of "firsts" along with hundreds, even 
thousands of notable projects. 

Leading our list of firsts is the use of a fragrance strip 
in a national publication. Produced in 1984, the piece was 
created to promote Yves Saint Laurent "Paris" parfum. 
The ad was constructed as a 6-page barrel fold, featuring 
what is now called an "exploding map" design. The 
exploding map unfolds in a fashion similar to a road map, 
in this instance literally throwing the fragrance out at the 
reader. Its similarity to a road map ends when it folds back 
up simply by closing the page. 

Structural Graphics was also the first to use music as 
part of a national print ad campaign. This was done for 
Canadian Mist in 1987. The piece was a 4-page folder, 
using a slide activator that engaged once the page was 

One of our firsts 
had more to do with 
sheer volume, rather 
than complexity of 
design. In 1996 
Structural Graphics 
was called on by R.J.R 
to promote its Camel 
brand using a pop-up 
of its character icon Joe 
Camel. Nine million 4- 
page inserts were 
assembled by hand to 
fulfill the order. 
Another first came in 
the area of Business to Business marketing with the 1989 
campaign for Structural Graphics. This was the first large 
direct mail campaign that incorporated a voice module 
into a B-to-B promotional effort, lthough not 
groundbreaking first-time efforts, there were two large 
format pop-up books produced for Macmillan in 1985. 
These two titles were Those Fabulous Flying Machines 
and The Joys of Christmas. 

While not every Structural Graphics design can stake 
claim to being the first dimensional used for a particular 
application, many are simply the first designs to perform 
as they do. Structural Graphics holds patents for a number 
of unique designs. Among those are The Poppagram, The 
Book Cube, The Automatic Changing Picture, The 
Extendo and The Flip. Each of these is regularly used as 
promotional materials delivering marketing messages. 

Continued on page 24 

£lg&£itt*h.- SHE&sKr^^tJB 

ell, not really. But his presence will surely be felt. 
Courtesy of Ellen Rubin who will share with us her extensive 
interviews with the Czech pop-up master's daughter in 
Canada. Just one of the highlights of the 4th Movable Book 
Society Conference this coming fall. 

From the time you Czech in. er, check in at the Wyndham 
Milwaukee Center Hotel 'til you check out, it'll be three days 
of movable feasts, friends and fun. Be there. 



SEPTEMBER 19 - 21, 2002 

Third Meeting of the European 

Section of the Movable Book Society 

Kutscherhaus, Recklinghausen - 2002 

Theo Gielen 
The Netherlands 

Picture the historic center of a small German town 
with partially conserved medieval walls and a little park. 
Its trees in full blossom surround a severe 19* century 
former coach house transformed into an art gallery. Add 
a beautiful bright sun, shining early in the morning, a 
large hall at street level formerly the stable for the coaches 
of the family living in the mansion. Combine an inviting 
mixture of reception room and exhibition area with small 
exhibits of pop-up books made by eight-year old pupils of 
one of the organizing members and also panels showing 
precious baptismal letters from long ago. To all that the 
local bookshop has added a little stand with recently- 
published movable books. Handouts prepared with 
information about the speakers of the day, lists of the 
names and addresses of all people expected to come, and 
name tags with an attached mini pop-up book wait to be 
clipped on. These were the conditions prepared by Mrs. 
Friederieke Wienhofer, Mr. Ulrich Tietz and his wife Mrs. 
Hildegard Tietz for the meeting of pop-up booklovers that 
took place on April 20, 2002 in Recklinghausen, 

foreign accents), but it wasn't a barrier at all for those who 
came with a common interest. The "Kaffee und Kuchen," 
the traditional German, meal-substituting cake, was 
appreciated by travelers, many of whom had traveled for 
hours. The number of exhibits grew: a German artist showed 
her pop-up artists' books; the works of architectural students 
from Bochum University came out of a box; Mr. Tietz made 
a display of his original "octagonal boxes," little wooden 
cigar boxes (we recognized the mark of Mr. Wienhofer) 
from which unfolded enclosed octagonal paper artworks 
when opened; and the son of the Tietzes came with big pop- 
ups done in white architectural cardboard to decorate the tall 
conference room upstairs! In no time the Kutscherhaus was 
transformed into a pop-up temple peopled with some fifty 
noisy adorers (I almost wrote 'Nvorshipers"). What a great 
job the organizers did! 

Before the official meeting, an informal get together 
was held on Friday night at the Wienhofer residence, this 
year's organizers, bringing together the people who 
organized the Dutch meeting two years ago and the 
German paper engineer Mrs. Antje von Stemm. It proved 
to be a very special evening ending in the early hours with 
a tour through the collection and an informative look at 
the latest project of the lady of the house: a reference book 
on seahorses. As a consequence, the next day started after 
too little sleep. But once we enjoyed the extensive 
breakfast served by Mr. Wienhofer and arrived at the 
Kutscherhaus, we forgot all about the lack of sleep and 
joyfully awaited the arrival of the participants. 

The reception room was given a pop-up atmosphere by 
the surprise attendance often, 12-year old boys and girls 
enthusiastically working on their own pop-up books. 
Pupils of Mr. Tietz, they gave their free Saturday morning 
to wonderfully illustrate the theme of the day: "Self-Made 
Pop-Ups" - a gesture highly appreciated by the arriving 

Before ten in the morning the first guests arrived from 
several different countries: Germany, The Netherlands, 
Belgium, and even the United Kingdom. It was a pleasant 
reunion of friends and newcomers who mixed in very 
soon. Different languages were heard (sometimes with 

The welcome and the salutations were so warm and 
extensive that they slowed the start of the program. But the 
organizers had learned from an earlier meeting that the 
contact and exchange between the guests was a major 
purpose of a meeting like this. And though the program of 
the day was full, so much so that your reporter at first 
thought there was a parallel program planned, the convener 
showed an admirably flexible attitude in executing it. 

After an official word of welcome by Mrs. Wienhofer, 
who also thanked the sponsoring local banking firm and the 
authorities that offered the use of the Kutscherhaus, the 
program opened with the traditional round of introductions 
that included lovely and sometimes even hilarious anecdotes 
used by people to identify themselves. We also heard about 
the six and a half meter high pop-up book that was done by 
one of the guests for the World Exhibition of Hannover in 
2000. Operated by a hydraulic system to open the successive 
spreads, it was a huge success at the Fair but an enormous 
problem now since it came back to her in several lorries and 
is a huge item to store. Since the people were asked to bring 
a special item from their collection - this time a tunnel book 
or peepshow - the round also resulted in a mini exhibit. 

Continued on page 18 

Frankfurt Book Fair 2001 
Part two of two 

Theo Gielen 

The Packagers 

It appears hard nowadays to distinguish between the 
traditional packager, the packager with his own 
publishing company, and the publishing company that 
develops its own pop-up books. Maybe the only traditional 
packager - doing just the design and the production, not 
the publishing - is Brown Wells and Jacobs. Packagers 
such as Intervisual Books, Sadie Fields, Electric Paper, 
Brainwaves, Templar, David Bennett, Matthew Price, and 
others, all also publish their own products, either under 
their own firm's name or under a special imprint (Pop-up 
Press, Piggy Toes, Tango Books, etc.). Publishing houses 
like Macmillan, Simon and Schuster, Walker Books, 
Ragged Bears, and Random House develop, produce and 
publish their own pop-up books in-house. Therefore, we 
list here the new titles of all three kinds of companies 
involved in one way or the other in the pop-up business. 
Again in random order and without any attempt at 

Sadie Fields / Tango Books has Abby Irvine's Ollie 
Owl Learns to Fly (1-85707-513-7), with simple, strong 
pop-ups and pull-tabs and an extra removable owl mobile. 
By the same author is Len Lion 's Wobbly Tooth ( 1 -85707- 
525-0), a pop-up book with appropriate pull-tabs for the 
wobbling of the tooth, and a tooth bag in clear acetate on 
the cover. Anne Holt's creation of Ruby, performing as a 
ballet star in an earlier book, now becomes Ruby the 
Musical Star (1-85707-521-8). Kay Widdowson did Big 
Bird and Little Bird{ 1-85707-5 18-8), a pop-up book with 
an additional height chart, and Valerie Appleby created 
the pop-up story of The Two Magicians (1-85707-5 16-1). 
Also now published is their collectible Ghoul School (1- 
85707-381-9) with text by Pat Thomson and illustrations 
by Leo Hartas. It was postponed last year so as not to 
coincide with a book with the same title published by 
Abrams. The shaped and die-cut cover has a wheel and 
throughout there are pull-tabs and pop-ups. Only a 
dummy was seen of John Bleary's Spooky Ride with the 
paper engineering by Mat Johnstone. 

Brainwaves, the company of Keith Faulkner who has 
done most of their successful titles with the illustrator and 
paper engineer Jonathan Lambert, continues the success 
of the formula used in their earlier Wide-mouthed Frog 
and Puzzled Penguin in a new book Can We Play? A 
Surprise Book (0-86461-298-1) and The Mouse Who Ate 
Bananas (1-55267-012-0). 

Continued on page 1 1 

Are You 
Cut Out For 


If you're into paper engineering, then Milwaukee's the place 
for you this coming fall. Listen to the experts talk about their 
experiences. Book artist Emily Martin will conduct a 
demonstration and lecture on movables in artists' books. And 
so will paper engineers Matthew Reinhart and Linda Costello. 
And if you're truly cut out for it, get your nimble fingers ready 
for a hands-on pop-up construction led by no other than the 
award-winning Robert Sabuda. 

Join the fold (no pun intended) at the Wyndham Milwaukee 
Center Hotel from September 19 to 21, 2002. You can't afford 
to miss three days of movable feasts, friends and fun. 



SEPTEMBER 19 - 21, 2002 

Some "Unrecorded" and Foreign-Language 
Animated Books by Julian Wehr 

Dr. Alan Boehm 

Middle Tennessee State University 

Roy Ziegler 

Florida State University 

Take them both together and Ann R. Montanaro's 
bibliographies, Pop-up and Movable Books: A 
Bibliography and Pop-up and Movable Books: A 
Bibliography, Supplement 1, 1991-1997, comprise an 
indispensable and authoritative source of information on 
the breadth and extent of pop-up and movable book 
publication. The labor behind these encyclopedic volumes 
has been nothing short of herculean, for the bibliographies 
represent an ambitious effort to assemble "a record of 1 9th 
and 20th century . . . English-language books containing 
movable illustrations," as Montanaro describes her aims 
in the Preface to the first bibliography. 

Yet in bibliographic works of such sweeping scope, it 
is well-nigh inevitable that a small number of items will 
elude the compiler's notice. Such is the case with 
Montanaro's compilations of the books created by the 
great American book illustrator-animator, Julian Wehr. 
Accordingly, as a way of supplementing Montanaro's 
work we provide here a short list of Wehr's books that are 
"unrecorded" in the two bibliographies. It is a indication 
of Montanaro's care and attention that our list is indeed 
short. With the possible exception of a single work that 
might be regarded as a hitherto "unknown" animated book 
by Wehr - the 1962 Animated Nursery Tales, which is 
inaccurately described in Montanaro's second 
bibliography - this list includes no new Wehr titles but 
rather unrecorded editions. 

Unfortunately, our list of the unrecorded books does 
not include all the animated or otherwise movable books 
created by Wehr and omitted by Montanaro. For example, 
we are aware of several of Wehr's books published in 
London in the late 1940s and unrecorded by Montanaro, 
but we cannot yet identify all the titles. Moreover, in 
preparing this list we discovered two minor "problems" 
with books by Wehr already noted by Montanaro. 

The first of these centers on the 1943 Mother Goose: 
A Unique Version published by Simon and Schuster 
(noted in Montanaro's second bibliography) and the 
relationship of this book to the 1942 Mother Goose: A 
Unique Version published by Grosset and Dunlap (noted 
in Montanaro's first bibliography). Montanaro's source 
for the 1943 Simon and Schuster Mother Goose is an 
Online Cataloging Library Center record reporting a 
single copy held at the University of Minnesota (the local 
record at Minnesota, however, indicates this copy is 
missing from the collection). The OCLC record includes 

a 1942 publication date. The local record at Minnesota 
indicates that the book was merely printed with a 1942 date 
and it implies that the original cataloger added a "correct" 
1943 publication date to the record based on other, 
presumably reliable information. 

We are in a quandary as we try to account for this book. 
On the one hand, the Minnesota and OCLC records might 
conceivably point towards something bibliographers call a 
"ghost" - that is, a book that was never actually printed, but 
for which a record or notice of some kind exists. We will not 
venture to explain how such a record might have been 
created. On the other hand, the Minnesota record may very 
well indicate just what it seems to indicate: a book by Wehr 
published in 1943 but with an erroneous 1942 printed 
publication date. This view assumes the Minnesota record 
was prepared by a conscientious cataloger with appropriate 
evidence in hand for a 1943 publication date. If so, one 
suspects that Simon and Schuster printed the book in 1942 
(which would account for the printed publication date) and 
planned to issue the book in 1942, perhaps late in the year 
around the holidays, but for some reason the book's 
publication and distribution was delayed until after the new 
year. No doubt, Simon and Schuster was simply bringing out 
with its own imprint a book identical to the 1942 Grosset 
and Dunlap Mother Goose. But identical to that edition or 
not, a copy of the Simon and Schuster imprint appears to be 
a very rare book. Any reader who owns a copy should 
consider submitting for publication a brief description of the 
book to Movable Stationery. 

The second problem involves the 1945 Julian Wehr 
Mother Goose. Although Montanaro notes this title in her 
first bibliography, the source she relies on - again, an OCLC 
record - does not indicate an animated, pop-up, or otherwise 
movable book. We should also note that the OCLC record 
reports 1 1 copies of this book in academic and public 
libraries in the United States, and that none of these 1 1 
individual catalog records describes a book with movable 
illustrations. However, there may very well be more than one 
version of Julian Wehr Mother Goose, a possibility that 
requires explanation. 

Curiously enough, the copy of Julian Wehr Mother Goose 
held here at Middle Tennessee State University bears the 
words "second printing" printed on the verso of the title 
page leaf. At the time we write this essay, several copies 
offered for sale by rare book dealers are presumably identical 
to our copy, for in online inventories they are all described 
as second printings and without animations. Moreover, 
although these copies from a "second printing" are not 
animated books, the color illustrations for the volume, to 
judge by the copy in our hands, obviously were initially 
conceived by Wehr as animated illustrations. 

Continued on page 10 


Ellen G.K. Rubin 
Scarsdale, New York 

Seneca, the ancient philosopher and playwright, said, 
"Rules make the learner's path long, examples make it 
short and successful." And so with Carol Barton as my 
instructor, this learner's path to the successful making of 
pop-up structures was made short... and do I daresay?- 
easy. Some of us may remember Carol from the first 
Movable Book Society convention in New Brunswick, 
New Jersey. A book artist, curator, and definitely a 
teacher, this past February Carol gave a weekend 
workshop called, "Pop Up Structures for Beginners," at 
the Center for Book Arts in New York City. Despite my 
extensive involvement with movable books, I had had only 
a couple of humbling experiences with actually making 
them. I signed up for the workshop determined not so 
much to master the structures and become a paper 
engineer (yeah, right!) but to understand the basic 
principles upon which the structures work. The weekend 
turned out to be nothing less than illuminating. 

Carol truly did teach by example. Except for the 
two rules which mandated making hard creases with our 
bone folders, and using sharp scissors and fresh X-acto 
knife blades, Carol demonstrated all we needed to know. 
She never used (for me) the dreaded four-letter words: 
"just"-as in "You just do this and Voila! It's done." or 
"'math"- as in "You have to know the math here." (Yes, 
for some of us "math" is a four-letter word.) 

We began with the simple parallel fold pop-up, 
progressed through V-folds, platforms, and asymmetrical 
folds, and finished, unbelievably, with transformations 
and dimensional pop-ups, such as a tent and parallel box, 
pop-ups with volume. With each new form, my own 
inadequacies were evident when I had to make it. The 
difficulty was not cutting, pasting, or folding. 1 feel 
comfortable with these elements. But when 1 wanted to 
think of an application of the form which in my mind 
necessitates an illustration, I was reminded I had no 
drawing skills whatsoever. The essence of a successful 
movable, to me, is the marriage of the right illustration to 
the movement which best expresses it. Nonetheless, when 
I turned the wheel on my rotating disk and the sun 
changed to the moon (My illustrations were VERY 
simple, I assure you.), I shouted, " I've done it! I've done 
it!" The most challenging movable, a transformation 
wheel a la Nister, with 6 "blades" or panels, actually 
worked! Carol had told us there was no "wiggle room" for 
this one. "Exact cutting only." No "hanging chads" 
allowed here. She had gone from student to student (there 
were ten of us) and supervised the cutting and assembly. 

Once you see it, you get it. No densely worded "you-only- 
understand-it-if- you"re-the-one-who-wrote- it" print-out 

I left the class with a folder full of pop-ups I 
understood how to make and a spring in my step. But the 
real surprise was waiting for me at home. On eBay, I had 
bought a promotional pop-up book for a Czech rock group 
complete with their CD and a discography. I showed it to my 
son, Ben, a musician. As we turned the pages together, for 
me it was like seeing pop-ups for the first time! Each 
movable fell into its proper category like loose change 
running through a coin-sorter. I could identify the elements 
upon which each was based and why they worked. Now, 
when I look at Kubasta's concertina- fold books, I understand 
how he made the marginal pop-ups open beyond the edges 
of the book. Could I do it? No. Some math is involved here, 
but I understand how it was done. Carol Barton had served 
like Toto did in The Wizard of Oz, exposing magic to 
scrutiny. I see movables as simple cuts and folds in paper 
done in such sequences as to make them behave in 
predictable ways. The curtain of ignorance has been pulled 
aside. Carol had demystified pop-ups, yet had not 
demythologized them! I respect them all the more for the 
new knowledge. I still experience the "Wow!" effect, 
thrilling to the alchemy of movable paper effecting changes 
before my eyes. The Wizards I call paper engineers still sit 
on their thrones. 

Conference Preliminary Program 
Topics being presented: 

Commercial illustration and design 

Repair and conservation 

Movables in advertising 

Paper engineering 

Movables in artists' books 

A history of Kubasta and his work 

Adie Pena 

Robert Sabuda 

Emily Martin 

Ellen Rubin 

Linda Costello 

Joanne Page 

Matthew Reinhart 

Ed Hutchins 
Also: video presentations, book sales, book signings, 
and much, much more. 

Ride A Cock-Horse To Banbury Cross 

Toy Picture Books 

Peter Laub 
Salzburg, Austria 

The Hildegard Krahe collection 

Exhibition from June 2 through October 27, 2002 

Thanks to the 
generosity of the 
collector Hildegard 
Krahe, an extensive 
and important 
collection of 
animated books, in 
particular books for 
children and young 
people, can now be seen in the Toy Museum. The librarian 
and specialist for young peoples' books became known to 
a broad public and experts in 1983 with her monograph of 
Lothar Meggendorfer and later through her jacket notes in 
reprints of the J.F. Schreiber publishing house in 
Esslingen. Throughout her life, always guided by the 
principle of high quality, she collected about 300 exquisite 
examples of animated books and now has donated this 
internationally renowned collection to the Salzburg Toy 

The collection, 
arranged with the 
existing inventory 
of the Toy Museum, 
extends from the 
earliest known 
animated books 
dating from the 
1830s to the present 
and thus provides a 
historical survey. 

15 Questions (or so) with David A. Carter 

Adie C. Pena 

Makati City, the Philippines 

Darton 's Movable Old Mother 
Hubbard and Her Dog. ca. 1 860 

To accompany the exhibition an extensive catalog (288 
pages, with more than 1,700 illustrations) has been 
published in which the private collection of Hildegard 
Krahe is combined with the existing collection of the Toy 
Museum and is thus a complete catalog of the SMC A. It 
is the first German-language monograph on the subject of 
the animated book. The collector and donator Hildegard 
Krahe has contributed a major article to this volume, in 
which for the first time she presents an overall view of her 
extensive knowledge and experience gathered over many 

For more information see <> and click on 
"Sonderausstellungen 2002." Spielbilderbiicher is 
available from the museum and costs 24.80 Euro. 

David and Adie (with Bugs) 

Part of the research for my article on "Magazine 
Movables" was an e-nterview with David A. Carter on his 
experiences and projects at Intervisual in the 1980s. It took 
David a few weeks to reply to my questions. He began his 
e-mail message with this apologetic note [Tue, 6 Nov 2001 
16:39:55 EST]: "Sorry it has taken so long to get back to you 
on this. I have just spent the last couple of weeks doing the 
final art for Chanukah Bugs (fall 2002)." After putting the 
finishing touches on the "Magazine Movables" article, I sent 
him a set of questions on his upcoming pop-up book 
"Chanukah," in particular, and bugs, in general, which Dave 
gamely answered. 

1 . When did you first conceive these pop-up bugs? Did you 
expect this big bug idea to "have legs" (figuratively and 
literally!), i.e. to last this long? 

"I think 1 did the first Bug books. Add one Bug and Take 
Away Bugs, in 1986. They were board books with 
attachments but no pop-ups or mechanicals. They have never 
been published. Irv Goodman and Wally could not find a 
publisher who was interested. They came back from Bologna 
and asked me to rethink the idea. I had a creative session 
with Jim Diaz and John Strejan and out of that meeting 
came the idea for a counting book which was to become How 
Many Bugs in a Box? 

"I did not expect the book to have legs. In fact everybody at 
I.C. I., except Jim, was very lukewarm about How Many Bugs 
in a Box?. The sales people came back from Bologna telling 
me that there was still no interest, that nobody understood 
the book. It wasn't until Irv Goodman came back with the 
good news that Grace Clark at Simon & Schuster was 
interested that I knew the book would be published. I 
remember Irv then telling me that this book "Had Legs." 
Even then, who would know that I would still be doing Bugs 
books years later." [Note: "Grace Clark was the children's 
editor. She is no longer with S&S, she left about the same 
time that they bought Macmillan."] 

2. What makes your bugs uniquely different from other 
people's bugs [e.g. Ron van der Meer's Bugz]? Why do your 

bugs have the "staying power"? 

"A bookstore owner once told me that what excited her 
about How Many Bugs in a Box? was that she had never 
seen anything like it. I try to make the books completely 
original in all aspects; the editorial, the art and design and 
the paper engineering. And I try to integrate all of the 
aspects. I also attempt to make the books educational 
whenever possible. One of the main reasons that the Bug 
books have staying power is because of the solid 
commitment by Simon & Schuster to keep them in print. 
They have sold well for S&S, I have been told that at one 
point the Bug books kept the Children's division afloat. 
Another reason is that when it comes down to it children 
like the books, not just the adults who buy the book. I have 
many letters from parents who tell me that their child asks 
for a Bug book at bedtime. The books do very well at 
Scholastic book fairs where the children, rather that their 
parents, make the purchase." 

3. Will pop-up bugs be your legacy? 

"They will but part of my legacy for sure, but 1 hope not 
the only part. I think The Elements of Pop-up will stand 
the test of time. Our book I'm a Little Mouse has been in 
print in France for over ten years and has a very solid 
following with the children there. I have many other ideas 
that hopefully will be published, so only time will tell." 

4. Bugs and mice, eh? Why this fascination with little 

"I find I have a lot of creative freedom with bugs and 

5. Would you "sell ouf'to Madison Avenue? Why? 

"I have been approached by Raid and I rejected their idea. 
Because "Raid Kills Bugs Dead" and I like bugs that are 
alive. But if the idea was sound I might consider it, I have 
a family to feed" 

6. You've practically covered all formats [alphabet, colors, 
counting, opposites] and seasons [Valentine, Easter, 
Halloween, Christmas, and soon Chanukah] for the past 
14 years [1988-2001; with 14 books, that's an average of 
one pop-up bug book a year]. Do you see an end to these 
pop-up bugs? 

"Every time I finish a bug book I think it may be the last, 
but as long as there is a demand and as long as the ideas 
keep coming there will be new projects." 

7. Why Chanukah? 

"Chanukah Bugs was a suggestion from Simon & Schuster 

and I liked the idea. It was a challenge and an opportunity 
to learn something." 

8. Could you elaborate a bit more on Chanukah! What 
should we collectors expect in Chanukah! Any surprises? Or 
will it be, no offense meant *grin*, the same good oF pop-up 
bug book from David A. Carter? 

"More of the same. That is what makes it a series. The only 
difference is the concept, Chanukah, and that this book is 
the smaller format like Easter Bugs. The paper engineering 
is similar to the other books in the series." 

9. You say S&S suggested the Chanukah idea? Is that 
standard practice? I always thought that ideas came from the 

"My first identity crisis was whether I was a fine artist or a 
commercial artist. I determined the difference to be that as 
a fine artist I would create art without any input from others 
and that as a commercial artist I would consider input from 
others. I determined that what I most enjoy is working alone 
but that I also have an intense drive to feed myself. Being a 
starving artist might be romantic but it is not for me. I heard 
a quote once that goes something like this: The problem with 
book publishing as a business is that it is an art and the 
problem with book publishing as an art is that it is a 
business. I later discovered that one of the aspects I enjoy 
about being an illustrator is the problem solving. I see the 
ideas as the problem that I get to solve. Sometimes I create 
my own problems and sometimes I take on other peoples 
problems. I have my own ideas that I work on and I 
entertain suggestions from publishers. If it turns me on I will 
do it. My experience so far has been that when I do work on 
an idea that I did not conceive, I still am given full creative 
freedom to make the book as I see it. Of the fifty some odd 
books that I have published about half are my original ideas; 
How Many Bugs in a Box?, Alpha Bugs, I'm a Little Mouse 
(Noelle's idea), The Elements of Pop-Up, Flapdoodle 
Dinosaurs are a few. Others such as Love Bugs, Easter 
Bugs, Chanukah Bugs, Curious Critters are ideas from 
collaborators. And then there are the works from the public 
domain such as The Nutcracker and If You 're Happy and 
You Know it Clap Your Hands. 1 '' 

10. From S&S's suggestion to a shrink-wrapped copy on the 
bookstore shelf, how long does it take to make a pop-up bug 

"Six to nine months for my part and another six to nine 
months in production." 

1 1 . Do you supervise the printing and assembly of your 
pop-up books? Or do you leave that all up to your 

"During my seven years at Intervisual one of my 
responsibilities was to prepare books for production and 
oversee the production. I spent many hours in film 
separation houses, printing plants and on the assembly 
lines in Colombia learning the process. The last couple of 
years I was responsible for all the aspects of a project 
including art and editorial. I estimate that I worked on 
close to one hundred and fifty projects at ICI. Today I 
rarely leave my studio. Using my knowledge of the 
process, I prepare the work in such a way that there is very 
little if any decision making that will take place after the 
job leaves the studio. I work closely with the production 
people at the publisher/packager and I must approve 
various stages once the book is in production. I feel very 
comfortable relying on the expertise of others, Jim Diaz 
for example, knows more than I or anybody I know will 
ever know about producing a pop-up. So when Jim is on 
the job I sleep well." 

12. After Chanukah, what's next? Fourth of July bugs?! 
Geographic bugs?! 

"Who knows?" 

13. How about pop-up greeting cards based on your bugs? 
"Bugs: The Movie"? An animated TV special? A pop-up 
board game? 

"We would be very interested in pop-up greeting cards, all 
we need is an interested card company. We have explored 
all of those avenues and I would be interested in the right 
project but most of my effort goes into doing what I love 
most, and that is books for children." 

14. You once put on a bumblebee costume for a book 
signing event. [Ha-Ha!] Could you tell us a little more 
about this? Any other memorable occasions wherein you 
had to "dress the part" or had to do something equally, for 
want of a better term, "ludicrous"? "I suggested the 
costume and ended up wearing it a couple of times a day 
for a ten day tour. So much for my bright ideas. I learned 
to keep my mouth shut after that. One aspect of this 
business that I have come to truly enjoy is spending time 

with the kids. I could 
spend hours talking to 
and reading to five year 
olds. They crack me up 
with the things they say 
and do." 

1 5. Finally, could do me a 
caricature of David A. 
Carter as a bug? [Dave 
sent me this drawing via 

David Carter as a Bug 

Wehr, continued from page 6 

Plausibly, then, we might suppose there was a "first 
printing" of the 1945 Julian Wehr Mother Goose that was 
produced with animated illustrations. If so, copies of this 
book are evidently quite scarce. Yet for all we know, this 
may not be the case. Perhaps a first printing was issued -just 
like the second printing - without animated illustrations. 
Less plausible, perhaps, is the possibility that the words 
"second printing" on extant copies really do not belong there 
and are, thus, misleading. Were the words simply a printer's 
error? Do they mistakenly refer to Wehr's previously 
published Mother Goose: A Unique Version, a book which 
does not have the same content and illustrations as the 1945 
volume? We cannot resolve the matter. But we encourage 
readers who own copies of the 1945 Julian Wehr Mother 
Goose to examine them. If they have animations or lack the 
words "second printing" on the verso of the title page leaf, 
the owner might consider, once again, preparing a brief 
descriptive notice for publication in a future issue of 
Movable Stationery. 

Fortunately, the other Wehr titles that have concerned us 
are considerably less difficult to address. In compiling our 
list, we have relied on a number of sources, including 
OCLC, Research Library Network (RLfN), and copies of 
Wehr's books that have been acquired by Walker Library at 
Middle Tennessee State University. Additionally, we have 
consulted rare book dealers' online inventories and have 
relied on information provided by Wehr's children, Jeanine, 
David, and Paul, as well as information provided by Adie 
Pena and Michael Dawson. Following the example of 
Montanaro's bibliographies, we give the source for each 
item listed. Wherever possible, we note the number of 
animated illustrations in each book. In several instances, we 
have thought it necessary or useful to provide a brief 
explanatory note regarding the book or the source. 

Finally, because Wehr has attracted an international 
following, and because a part of this following might be 
ascribed to the foreign-language translations of his books, 
we have also included a second list, which provides an 
incomplete record of Wehr's books issued in Spanish, 
French, and German. These works, of course, lie beyond 
Montanaro's editorial focus on English-language movables. 
But we feel it sensible and useful to take notice of as many 
of Wehr's books as possible, and to do so in one place. 

Books by Wehr Unrecorded in Montanaro's 

Rip Van Winkle. Pilot Press Ltd., London. No date. Five 
animated illustrations; wire— not plastic-spiral binding. 
The date of publication is possibly 1947, which was the 
same year Pilot Press Ltd published Animated Picture Book 
of Alice in Wonderland, which is noted by Montanaro in her 


second bibliography. 

Middle Tennessee State University. 

The Night Before Christmas. Raphael Tuck and Sons, 
London. 1949. Two animated illustrations positioned 
within the inside front and back covers; bound with 

Raphael Tuck and Sons published six Wehr titles in 
London around 1949. Montanaro lists the Snow White 
Animated (1949) in her second bibliography. 
Bookseller's catalog. 

Snow White Animated. Saalfield Publishing Company, 

Akron, Ohio. 1 949. Two animated illustrations positioned 

within the inside front and back covers; bound with 


Although it was published in the U.S., this appears to be 

physically similar to the Snow White Animated publishe d 

in London by Tuck in 1949 and noted by Montanaro in 

her second bibliography. 

Middle Tennessee State University. 

Jack and the Beanstalk Animated. Saalfield Publishing 
Company, Akron, Ohio. 1949. Two animated illustrations 
positioned within the inside front and back covers; bound 
with staples. 
Middle Tennessee State University. 

Animated Nursery Tales. Grosset and Dunlap, New York. 
1962. Three animated illustrations. 
This book might be regarded as a hitherto "unknown " 
Wehr, insofar as it is imprecisely recorded by Montanaro 
in her second bibliography, who gives it an incorrect 
1943 publication date, even though she accurately 
describes its contents. The confusion probably arises from 
the fact that Wehr created and published two wholly 
different but similarly title d Animated Nursery Tales, the 
first in 1943 (noted in Montanaro 's first bibliography), 
and the second in 1962. Middle Tennessee State 

Books by Wehr published in Spanish, French, and 


Blanca Nieves [Snow White]. Cervantes. 
Barcelona. [Date?] 

Caperucita Roja [Little Red Riding Hood]. 
Cervantes. Barcelona. [Date?] 

El Negrito Sambo [Little Black Sambo]. 
Cervantes. Barcelona. [Date?] 

We thank Adie Pena for pointing out these three 
Spanish-language editions of Wehr's books and for 
providing a reliable source for their identification in the 
exhibition catalog by Arcadi Calzada and Quim 
Corominas, Pop-up: Uibres movibles i tridemensionals: 

exposicio, del 1 7 de desembre del 1 999 al 6 de gener del 
2000. Girona. Fundacio caixa de Girona, Centre cultural de 
caixa de Girona. 1999. The Spanish editions were most 
likely published in the late 1940s. 


Tchou-Tchou le petit train [The Happy Little Choo 
Choo]. J. Barbe. Paris. 1947. 

OCLC (No. 21016317) 

Blanche Neige [Snow White]. J. Barbe. Paris. 1 948. 
Five animated illustrations. 

Middle Tennessee State University. 

Le chaperon rouge [Little Red Riding Hood]. J. 
Barbe. Paris. 1948. 

Bookseller's catalog. 

Lesanimaux vivants [Animated Animals]. J. Barbe. 
Paris. 1949. 

OCLC (No. 24775722) 


Der gestiefelte Kater [Puss in Boots]. Azed AG. 
Basel. 1948. 

Swiss National Library, 

RLiN (No. SZNG057030860-B) 

Rotkdppchen [Little Red Riding Hood]. Azed AG. 
Basel. 1948. 

Swiss National Library, 

RLIN (No. SZNGO57030960-B) 

Schneewittchen [Snow White]. Azed AG. Basel. 

Swiss National Library, 

RLIN (No. SZNG05703 1060-B) 

Frankfurt Book Fair, continued from page 5 

By the same makers are Deck the Halls: A Christmas 
Window Surprise Book (Dutton: 0-525-46766-1) and a 
similar A Trick or Treat? A Not Too Scary Window Surprise 
Book (0-525-46765-3). For Millbrook Press they did The 
Christmas Story (0-76 13-1439-3), including a pop-up stable 
for a nativity display with loose added figures. Koala Books 
in Australia will bring out their "Pop-Up Jurassic Classic 
Fairy Tales" of Sleeping Beauty and Rexerella. Two new 
"mix-up pop-up books" borrowing heavily from Kees 
Moerbeek's earlier mix-and-match pop-ups Have You Seen 
a Pog and others, will be published next March by 
Cartwheel Books, Funny Farm (0-439-30904-2) and 
Jumbled Jungle (0-439-30903-4). 

David Bennett Books showed three colorful Stephen 
Gublis titles with simple pop-ups, surprising pull-tabs, and 
wheels, / Know an Old Lady Who Swallowed a Fly (1- 
85602-393-1), 77k Wheels on the Bus, and OldMacDonald 
had a Barn. Only dummies were on display. They will be 
issued in spring 2002. Tricky pull-tabs were found also in 
their 77k? Teddy Bear's Trick or Treat (1-85602-380-7) by 


Sam Williams and Bunny 's Easter Eggs (1-85602-391-5) 
by Helen Rossendale, to be followed spring 2002 by the 
sequel Bunny 's Bedtime. 

The Bennett-related imprint of Big Fish is publishing 
Jay Young's The Amazing Magic Fact Machine (1- 
903174-16-3) with the intriguing spinning finger that 
answers questions, the similar The Magic Fact Machine 
Science (1-903174-16-3), The Magic Fact Machine 
Animals (1-903174-45-0), The Amazing Magic Fortune 
Teller ( 1 -903 1 74-47-3 ) and the chi Idren ' s Magic World of 
Learning (1-903174-42-2). Next fall will come the new 
spectacular project by Jay Young The Amazing Pop-Up 
Science Flea Circus. The book invites readers to take out 
the bugs and let them perform six classical (flea) circus 
acts on the elaborately engineered pop-up spreads. Each 
performance is based on scientific principles, such as 
gravity, force, speed, balance, etc., and after you have 
watched the performances, you can learn about the science 
- why it works, how it works (the tricks are betrayed!) and 
how the science is applied to everyday life. A great 
collectible item and, to me, one of the scarce highlights of 
this year's Fair. 

Walker Books displayed two new books by Robert 
Crowther, Colours (0-7445-7549-4) which has eight pages 
that at first sight appear to be just a plain color. When the 
tab is pulled the left page shows in a window the word for 
the used color, and the right page shows objects related to 
the color of the pages behind the opening windows. 
Crowther's Football has been published in different 
British and American editions. In an interview on BBC 
radio the author said the American one (Candlewick 
Press) will have an elaborate extra center spread of a pop- 
up playground, missing in the UK edition! 

The theme of the dummy of Zita Newcome's Pop-up 
Toddlerobics looked very American. Only a first design 
was shown of The Theatre Box that will tell children the 
stories from classical ballets and operas. It will have 
musical scores (and an accompanying CD with the 
original soundtracks) and movable parts within the related 
pop-up theatrical settings. It looked promising but we will 
have to wait until 2003. 

On display at Random House's stand was the new 
sequel in the successful series of oblong pop-up books 
done by Kate Petty and Jennie Maizels, The Super Science 
Book (0-370-32554-2). Jo Lodge has a new Moo Moo 
Goes to the City (0-370-32624-5), February 2002, again 
done in the bold colors known from her other books and 
with a nice final pop-up spread of the city Moo Moo 

New at Orchard Books, to come next autumn, are The 
Secret Angel Handbook, illustrated by Jan Lewis and 

offering both pop-ups and angel surprises (gifts); an 
inevitable pop-up version of the popular duck Daisy created 
by Jane Simmons, Come on, Daisy! (my prize for the most 
uninspired title); and an eight-page pop-up carousel book 
with Penny Dann's too pink fairies The Secret Fairy at 

Finally I visited the stand of the Templar Company 
where there were some new additions to their successful 
series. On display were Derek Matthew's Snappy Books 
(twelve parts already), a continuation in a new series of three 
(larger) landscaped Super Snappies, and two sets of four 
each (smaller) pop-up booklets called Happy Snappies. Also 
Maurice Pledger's eight-part Pop-up Adventures will be 
continued by a series of four Giant Peek and Finds using a 
similar formula with pop-up flaps and one full pop. Of more 
interest are their books Who will You meet on Scary Street? 
Nine Pop-up Nightmares (Little Brown, 0-316-25606-4) 
illustrated by Charles Fuge, and its sequel to come next 
autumn. Monster Motel: Nine Monstrous Pop-ups. Also of 
interest is the pop-up book on crazy aliens, Outer Space is 
a Very Big Place, written by A.J. Wood and boldly 
illustrated by Ross Collins. The best one they did this year, 
and highly collectible indeed, is All the Fun of the Fair (1- 
84011-510-6). That was done as kind of a pack that, 
unrolling, reveals a wonderful fairground, complete with a 
working carousel, a wind-up ghost train, a spinning big 
wheel and more along with lights and music! 

The Characters 

It has long been popular to tie together the techniques of 
pop-up, pull-tab, wheel, mix-and-match, etc. with characters 
that have won their popularity elsewhere. Again this season 
several pop-up and novelty books were seen that are related 
to the characters known from the toyshop, television, 
comics, and children's books. I name just a few of them. 

Almost since the start Walt Disney has seen the 
profitable possibilities of these tie-ins. For decades the 
Disney Company did lots of pop-ups and novelties for 
almost all their characters. Then they stopped a couple of 
years ago. Now there is a modest restart. Some new Disney 
titles have been published by Ladybird including a series of 
four mini-pops of the Disney Winnie the Pooh, and two 
"Flicky Mickeys" (flick books), Silly Spook! (0-7214-7948- 
0), and Bow Wow! (0-7214-7949-9). At Disney Press, too, 
could be seen some new items, Disney 's Pop-up Animals (0- 
7868-3303-3) and Disney's Pop-up Adventures (0-7868- 
3332-7), both offering a pop-up anthology of Disney 
characters and apparently done by Derek "Snappy" 

Barbie gets her Barbies Busy Week (0-307-20055-8), a 
three-dimensional planner with pop-ups, and Norman 
Bridwell's Clifford comes out in February in a pop-up 


version, Clifford I Love You (0^39-36774-3), to coincide 
with Valentine's Day. I recognized it as a blow-up of the 
1994 mini pop-up with the same title. 

Bob the Builder gets his pop-up look in two books 
from Golden Books, Bob's Busy Day (0-307-20041-8), 
Lofty to the Rescue (0-307-20040-X), and another one 
from BBC Worldwide, Where 's Scruffy? (0-563-47685-0). 
There is also a turn-the-wheel book on him, Bob on the 
Run (0-563-47604-4). 

After the worldwide success of the Ann of Green 
Gables Pop-up Dollhouse, Key Porter Books from 
Toronto, Canada, has announced a similar Little Women 
Pop-up Dollhouse, to be followed by a series of other 
carousel books, The Farm, A Family Christmas, The 
Haunted House, The Wild West and others. 

The BBC seems to have discovered the fun (and 
profitability) of tie-ins and will publish all kinds of pop-up 
and movable items with their children's television series 
Bill & Ben. They will have their pop-up book The Nutty 
Nut Race (0-563-47643-5), their changing pictures book 
Boo! (0-563-47696-6), and their mix-and-match The 
Shiny Treasure Hunt (0-563-47694-x). The technique of 
three-dimensional pictures seen with special glasses has 
been used to tie in with the BBC series The Blue Planet, 
3D Underwater World (0-563-53313-7), Walking with 
Dinosaurs, 3D Dinosaurs (0-563-5564 1-3), and Walking 
with Beasts, 3D Beasts (0-563-47686-9). 

The Teletubbies have a whole range of simple lift-the- 
flap, look-inside (die-cut hole) and magical flip-flap 
books. The Tweenies got a pop-in-slot book Let 's Pretend 
(0-563-47695-8), a mix-and-match The Tweenies Meet the 
Animals (0-563-47698-2), and a pull-tab color slide-and- 
seek book, Dotman's Colour Magic (0-563-53312-9). 
Harry Potter pops up not only in both of the previously 
mentioned Intervisual books, but also in a series of four 
simple, fan-folded sideways openers. 

.... and other Celebrities 

Anthony Browne, the winner of the 2000 prestigious 
H.C. Andersen Award (known as the little Nobel Price), 
will have his first pop-up book The Animal Fair, a three- 
dimensional interpretation of the favorite children's song. 
It will be published by Walker Books in 2002. 
Recently published by Golden Books are pop-up books by 
several local (American) celebrities. Dr. Ruth 
Westheimer, world famous sex-therapist, now educates 
children on where babies come from in the pop-up and 
lift-the-flap book Who Am I? Where Did I Come From? 
(0-307-10618-7). Rona Jaffe, whose beloved classic The 
Last of the Wizards (0-307-10619-5) is now a pop-up, 
teaching one more time to be careful what you wish for. 

Deborah Norville has a second pop-up book / Can Fly! (0- 
307-10615-2) after she sold 70,000 copies of her first book 
/ Don 't Want to Sleep Tonight. 

European pop-ups 

For a long time the production of original pop-ups in 
non-Anglo Saxon Europe has appeared to be a marginal 
business. So it was now. In France four pop-up books by 
Francois Michel, strongly inspired by the 'Tanascopic 
Model" developed by Kubasta, were reprinted by Actes Sud, 
La Maison Romaine, La Grande Muraille de Chine, Le 
Temple Maya and Les Pyr amides d'tgypte. But when I 
ordered copies of them they appeared to have already sold 
out. Another "Panascopic Model" adaptation was a large The 
First Christmas: Pop-up and Read the Story Book, 
wonderfully paper engineered by Tim Bullock. It will be 
published next autumn by Eagle Publishing in Guildford, 
UK, a company that appears to have also published some 
simple pop-up books on religious themes, The pop-Up 
Parables Series and The Pop-Up Prayers Series, both in 
four parts each. 

The Italian, Triest-based company of Emme Edizione 
will bring out the two new pop-up books paper engineered 
by Massimo Missiroli, LaMucca Moka (8 8-7927-52 1 -6) and 
Fred Lingualunga (88-7926-522-4). 

A small number of German pop-up books were seen at 
the stands of Rowohlt. They showed the second part of Antje 
von Stemm's do-it-yourself pop-up, Frdulein Pop undMrs. 
Up unddas Abenteuer ... Liebe (Miss Pop and Mrs. Up and 
the Adventure of ... Love) (3-499-21144-0). At Schreiber 
there was a nice Christmas pop-up, illustrated by A. 
Archipowa, Und sie folgten einem hellen Stern (And They 
Followed a Shining Star) (3-480-2 1477-0), with a fold-down 
stable behind the "porte-brise" front cover that opens from 
the middle. The Munich-based Ars Edition developed in- 
house their first original pop-up title Das Berlin Paket (The 
Berlin Pack) which is described in detail in another article. 
It was surely the best of this year's Frankfurt Book Fair! I 
am afraid that was all the European publishers had to 
present as their original pop-ups this year. 


To finish this survey of some of the new movable and 
pop-up books I saw in Frankfurt 2001, 1 would like to write 
briefly about a nice accidental circumstance of visiting the 
Book Fair, the selective collection of the catalogs offered by 
the publishers to their trade customers. In the first place 
catalogs offer booksellers, of course, a lot of information 
about the new books, their makers, the prices, sales 
conditions, etc. For a researcher in the field, the catalogs tell 
about the development of the publisher's front and backlist 
and their reprinting policy. For that reason the catalogs of 


companies like Intervisual Books, Van der Meer Books, 
Tango Books (with an especially complete 2001 color 
catalog showing all their new and backlist titles), 
Brainwaves, etc. will prove invaluable in the future for 
any pop-up book historian. Imagine if we had the catalogs 
of the movables from Dean & Son, Raphael Tuck, or 
Ernest Nister. This year Golden Books, for example, this 
year did a very interesting 40-page "Novelty 200 1" catalog 
listing all of the pop-up, movable and other novelty books 
of their list that are available, giving a good picture of 
their business at the beginning of the 21st century and 
showing, also, the lasting success of some of their titles 
that were published sometimes decades ago. 

Sometimes the catalogs do have an extra that makes 
them collectible as pop-up or novelty ephemera. Quarto 
Children's Books, for example, had an ornate front cover 
on their 2001 catalog with a wonderful inlay of some 12 
sparkling "jewels," done in a new technique. For years the 
catalogs of the German Ars Edition used to have 
something special on the front cover, a clever die-cut or a 
tactile element. Once they had a catalog with the picture 
of one of their novelty books. When your hand was placed 
on the particular spot of the picture, magically some parts 
of the picture were made visible by body warmth! This 
year there was a picture by Andrea Hebrock, taken from 
the new board book Ein Brief fur Rotte L4 Letter for 
Rotte) showing the young dove Lena offering a (pasted 
down) letter to her friend Rotte, the rabbit. When opened 
the miniature letter unfolds to eight times its size to show 
the handwritten but otherwise usual publisher's blurb 
recommending the contents of the catalog. 

For years though the most desirable catalogs were 
offered by the Italian packager La Coccinella (The 
Ladybird). The firm publishes a range of novelty board 
books with die-cuts, puzzles, simple pop-ups, fold-outs, 
etc. and as a specimen of their designs they used to build 
in some novelty in the front cover of their catalog. This 
year's front cover showed a large illustration of the 
ladybird, half of which can be opened to reveal the text 
"Growing up by playing" and a wonderful pop-up circle of 
eight children dancing hand-in-hand. During the years 
there has grown a nice, though "passive" collection out of 
these publishers trade catalogs- with-an-extra! 

Pop-up Class 

Rand Huebsch will present a tunnel book class at the 
Newark Museum on July 12 and 19. The fee for the two- 
day class is $90. <www.newarkmuseum . org/artsworkshop/ 

Magazine Movables, continued from page 2 

The series, called "The Adventures of Jack and Betty," 
lost its charm, as far as this writer is concerned, when a 
third character named Jeannette was introduced in 1915. 
Between November 1917 and December 1918, Woman's 
Home Companion again published a novel do-it-yourself 
series of movable paper toy cutouts by Henry Anson Hart 
called "Little Folks' Own Circus." Each plate featured two 
toys with a circus theme — one toy that rocked, the second 
with a movable piece that swung back and forth on a pivot. 

(Aside: Are Playbills considered magazines? A 1922 
Colonial Theatre Playbill [26 W Randolph Street, Chicago] 
contains a pop-up postcard insert for Irving Berlin's "Music 
Box Revue." A 1979 Royale Theatre Playbill [242 W 45th 
Street, New York City] has a pop-up "Grease" centerspread. 
The headline reads: "The Longest Running Show In 
Broadway History, December 8, 1979 — Tonight's 
Performance #3,243!"). 

While the decades to follow are a blank as far as 
magazine movables are concerned, America witnessed the 
birth of some soon-to-be household names — Reader's 
Digest (1922), Time (1923), Newsweek (1933), Life 
(1936-72; resurrected as a monthly in 1978), Look 
(1937-71), and Ebony (1946). But, more importantly, print 
advertisers learned to, er, entertain while hawking their 

From the 1930s to the 1950s, manufacturing companies 
took advantage of the so-called "Golden Age of Paper Dolls" 
and put paper dolls on their magazine advertisements to sell 
such products as nail polish, underwear, Springmaid fabrics, 
Quadriga Cloth, Fels Naphtha and Swan soaps, and Carter's 
clothing for children. At last, the blatantly-commercial print 
ad had become a paper toy worth looking forward to — and, 
yes, collecting. 

But what would finally set the stage for the decades to 
come was a short-lived (from February 1950 to January 
1 95 1 , to be exact) magazine called Flair. The brainchild of 
Fleur Cowles, a Look magazine editor who wanted to create 
a magazine for both women and men, Flair had double 
covers with die-cut holes; booklets of a different paper stock 
bound into each issue; horizontal-split leaves; and 
innovative fold-out pages with lift-the-flaps. As one reviewer 
observed: "Flair became a monthly event, a tactile feast for 
the eyes and mind." 

After two centuries, the American periodical had been 
re-invented; and Flair showed the magazine publishing 
industry that anything was possible, within the pages of a 
magazine, as well as on its covers. 

If Flair reflected and defined the '50s, it was Life and, 
uh, Playboy in the '60s. Life with its beautifully- 


photographed eye-popping fold-outs and Playboy with its, 
well, beautifully-photographed eye-popping fold-outs, too. 
Cartoonist Al Jaffe reminisced: "Many magazines were 
hopping on the bandwagon, offering similar full-color 
spreads to their readers. I noticed this and thought, what's 
a good satirical comment on the trend? Then I figured, 
why not reverse it? If other magazines are doing these big, 
full-color fold-outs, well, cheap old MAD should go 
completely the opposite way and do an ultra-modest 
black-and-white Fold-In!" 

The first interactive MAD magazine "Fold-In" 
appeared on the inside back cover of issue #86, April 1964 
— and has become a regular feature for the past 37 years. 
Mr. Jaffe's idea wasn't actually new. An old Japanese 
single-sheet woodblock print (ca. 1870) intended as 
material for two miniature transformation books utilizes 
exactly the same concept. By means of vertical folds, the 
"Patron Saint of Learning" transforms into a top, while a 
crab turns into a maple leaf. 

printed and hand-assembled his pop-up products. "First 
appreciation goes to Toshu Insatsu of Japan who, from 1960 
until 1969, did an amazing job of pioneering the 
hand-assembly of supermarket displays, greeting cards, 
magazine inserts, etc. Tex Sekimoto did a remarkable job of 
guiding Tosho's efforts under the direction of Ed Posnecke, 
Graphics International's Tokyo Office Manager." 

Among the company's early output was the 
ground-breaking series of pop-up ads for Wrigley gums that 
appeared from 1964 to 1967 in Jack and Jill magazine. The 
pop-up fold-outs featured thirteen (13) animals with 
alliterative appellations - Bobby Bear, Buster Beaver, Clara 
Camel, Eddy Elephant, Franky Fox, Hildy Hippo, Jeffrey 
Giraffe, Karol Kangaroo, Lawrence Lion, Melvin Monkey, 
Ricky Raccoon, Sally Seal and Sammy Sloth. There are two 
(2) versions of the Bobby Bear print ad, making it a total of 
fourteen (14) different pop-ups. The "simplified" version has 
a smaller lake, one less bear and a tree with less foliage. 

rss Mauri tr»OHn«aiEa. kiu-ms msn. gm p«i 



■4 Mad Fold-In When folded correctly, 
Richard Nixon's name and image appears 
(June 1964). 

Transformations ► 
Single-sheet woodblock 
print intended for a 
Japanese movable 
picture book (ca. 1870). 

Undeniably, the man who revived the pop-up art 
form is Waldo H. Hunt who, along with paper engineer lb 
Penick, established Graphics International, a company 
that specialized in pop-ups, initially NOT for books, but 
for commercial applications. Movable maestro David A. 
Carter says: "What is interesting about this all is that 
Wally had started his first business doing point of 
purchase pop-ups. One that I can think of is for Campbell 
soups or Del Monte." Mr. Hunt, in a recent interview with 
this writer, proudly admitted: "My company, Graphics 
International, pioneered the pop-up magazine insert, 
direct mail, and point of purchase display business starting 
in 1960." 

Mr. Hunt, in a recent fax, fondly reminisced about 
his overseas partners in "developing countries" who 

Mr. Hunt "then moved on to books" and developed 
pop-up book lines for Random House and Hallmark from 
1965 to 1973. In 1974, he launched Intervisual 
Communications Inc. which, to this date, has produced 
"millions of pop-up magazine inserts and premium books for 
major advertisers." 

In 1969, Chris Crowell, another pop-up pioneer, 
founded Structural Graphics, which produced print materials 
involving initially die-cuts and pop-ups; eventually 
fragrances; and, much later, soundchips, lights and 
holograms. After years of endless innovation, Structural 
Graphics will become the country's leading producer of 
interactive, three-dimensional print communications, 
specializing in direct mail advertising, point-of-purchase 
displays, specialty packaging and, yes, pop-up magazine 


inserts. (Frank Ossmann of Structural Graphics has kindly 
provided a list of some of their ground-breaking projects. 
Please see "Structural Firsts" in this issue.) 

In the 1980s the popularity of pop-up books swelled, 
and advertising mirrored this trend with a plethora of 
paper-engineered pieces. Mr. Carter remembers: "I was an 
art director at Intervisual when we did the first pop-up 
magazine insert. At that time, Jim Diaz, who was then the 
creative director, gave me the job of art director for these 
pop-up ads. John Strejan, David Rosendale, Tor Lokvig 
and myself were the paper engineers on these various 
projects. The first job that came to Intervisual was a 
pop-up for Honeywell that ran in Business Week [June 3, 

Mr. Carter continues: "It was the advertising agency 
for Honeywell, BBDO in Minneapolis, that first contacted 
Intervisual about doing an ad. It seems that there were 
postal laws preventing this kind of bulk to be included in 
magazines. The advertising agency became aware of the 
fact that the Reagan administration had deregulated the 
laws and they had the bright idea for pop-up ads." 

With this deregulation, the floodgates were opened. 
Mr. Carter resumes by enumerating the other pop-up ads 
he has worked on: "A pop-up direct mailer for Apple 
computer was next, then Transamerica..." 

The pop-up Transamerica Corporation print ad, 
which featured a three-dimensional depiction of the San 
Francisco skyline, appeared in 5.5 million copies of the 
September 8, 1986 issue of Time magazine. Marvin M. 
Gropp, director of research for the Magazine Publishers 
Association in New York, said then that it was the "largest 
press run on record for a three-dimensional pop-up ad" 
and "a hell of an investment." 

Of course, pop-up "investments" do have pop-up 
"advantages." Jane Bradley, in her article "Pop Art," wrote: 
"A Time readership survey revealed that dimensional 
designs increase brand awareness and communicate more 
effectively than typical print ads. An astonishing 96 percent 
of Time readers recalled seeing a test-marketed ad. The study 
showed that 72 percent of readers not only distinctly 
remembered seeing the dimensional ad, but clearly 
associated the advertiser's product with the ad, creating a 
positive connection between the company and its product." 

Aside from the above-mentioned Transamerica insert, 
the stand-outs (no pun intended) during that decade were the 
ads for Anderson Printing (1984) showing a man who 
accidentally falls into a printing machine; Northern Trust 
Bank (1987) with an executive hiding from a bill collector; 
and a box of Hennessy Cognac (1987) popping out of a 
Christmas stocking. 

Mr. Carter picks up from where we left off: "...a pop-up 
Dodge Truck, a pop-up for Havoline Oil featuring Nascar 
drivers, then the Hennessy [Cognac] ad. The Hennessy ad 
was my last as art director. After that I went freelance and 
focused on books and only made a few minor pop-up ads. 
David Rosendale and Tor Lokvig continued on and 
eventually the company, Intervisual Communications Inc., 
became two (separate) divisions: Intervisual 
Communications did pop-up advertising and Intervisual 
Books did pop-up book packaging." 

(Yes, there are two Intervisuals today. One is 
Intervisual Communications, Inc. [ICI], the other is 
Intervisual Books, Inc. [IBI]. Confused? Mr. Hunt explains: 
"In 1991 we spun off our commercial division to RR 
Donnelly. It continued with the name Intervisual 
Communications [ICI] and we became Intervisual Books 
[IBI]." Mr. Carter continues: "...ICI was later sold back to a 
group of employees including David Rosendale. ICI is based 
in Santa Monica, CA and is still in operation. David 
Rosendale and Tor [Lokvig] are the paper engineers." Mr. 
Hunt adds: "Our non-compete agreement [between ICI and 
IBI] expired several years ago and we [Intervisual Books] 
are once again in the commercial [i.e., advertising] pop-up 
business.") Back to our informal history. 

Magazine art directors and illustrators didn't miss a 
beat and likewise rode on this three-dimensional trend. 
Playboy on several occasions featured an article with a 
pop-up fold-out, e.g. "While Lenin Slept" (January 1986) 
and "Channel Hopping" (December 1987). A photographic 
illustration for a write-up on joint child custody in Parenting 
magazine (1987) was obviously inspired by the McLoughlin 
transformation "Pantomine Toy Books" (ca. 1886) which 
contained half- and quarter-pages. 


Bowing to public and political pressure over 
half-a-century ago, the Distilled Spirits Council of the 
United States (DISCUS), instituted a self-imposed ban on 
broadcast media advertising, since 1936 for radio and 
1948 for television. This voluntary ban obligated the hard 
liquor industry to utilize non-electronic media, magazines 
in particular, for its advertising campaigns. (Note that this 
ban does not cover beer and wine which probably explains 
why we've hardly seen any pop-up ads for these products.) 

The alcoholic beverage that has used the print 
medium to the hilt is Absolut Vodka (imported from 
Sweden, launched in the US in 1981) with its novelty 
print ads created by advertising agency TB WA Chiat/Day. 
Inspired by the MAD 'Told-Ins," TBWA designed an ad 
that required the readers of Business Week to fold together 
a bisected Absolut bottle. When accomplished correctly, 
the headline read: "Absolut Merger." 

Other ads in the long-running (and award-winning) 
series utilized soundchips, an actual forty-eight-piece 
jigsaw puzzle, real refrigerator magnets, postage stamps 
in a glassine envelope, postcards, Christmas cards, a 
packet ofhonest-to-goodness wildflower seeds, x-ray film, 
a flexible plastic record featuring Brazilian composer 
Antonio Carlos Jobim's "Absolut Song," a pair of 
stockings, a silk pocket square, and a pair of Absolut 
winter gloves designed by Donna Karan! 

My favorite of the lot is the "Absolut Wonderland" 
snowdome from 1988. Encased in a plastic pouch 
containing "snowflakes" floating in propylene glycol (a 
harmless liquid when ingested), the reader can actually 
shake the print ad and watch the flakes fall. As a 
precautionary measure, the advertising material carries 
this warning: "Do not puncture this ad. And please, do not 
drink the liquid inside. It's not for human consumption. 
It's not Absolut Vodka." It would be interesting to note 
that this print ad preceded Nancy McMichaePs 
Snowdomes (Abbeville Press 1990), which contains a 
"working" snowdome on the cover, by a good two years! 

A pop-up on the cover, e.g. The Head (1996), or 
within the pages, e.g. The Terminator (1991), of a comic 
book is predictable, right? But magazines that one would 
least likely find a gimmick in published some novelty 
issues as well, e.g. 3-D glasses in National Geographic 
(the Mars Sojourner edition) and Sports Illustrated (a 
special swimsuit edition, why not?). From 1991 to 1996, 
GAMES, a crossword and puzzle magazine, had a regular 
feature called "Pop-Outs," perforated pieces that readers 
could punch out and assemble. Imagine solving a 
three-dimensional crossword puzzle (December 1992)! 

With the ban on tobacco television advertising in 
1971 (smokeless tobacco advertising was banned 1 5 years 

later), the most paper-engineered product category, 
understandably, is cigarettes (e.g. Benson & Hedges, Camel, 
Carolina Gold, Kent, Marlboro, Merit, Salem and Winston). 
Joe Camel, on the other hand, has the distinction of being 
the most popped-up marketing mascot, aside from the 
Wrigley's Spearmint boy from the 1960s. Joe, who 
celebrated his 75th birthday in 1988 with a 
three-dimensional ad that included a soundchip, made his 
last pop-up appearance in the spring of 1996 giving away 
tickets, before finally being deep-sixed by lobbyists in 
Washington D.C. 

Crossword Cube Three-dimensional puzzle wherein 

the Ws tum upside-down to become Ms, and 

the Zs and Cs tum sideways to become Ns and 

Us (GAMES, December 1992) 

That same spring, Structural Graphics was busy 
producing a spectacular holiday pop-up ad for Smirnoff 
Vodka. The ad, which included a dozen flashing lights, 
transparent vellum and printed Mylar, was scheduled to 
appear in 500,000 copies of the Entertainment Weekly 
Christmas issue. 

That summer, Seagram Co. decided to disregard the 
voluntary ban on television and radio advertisements for 
hard liquor and aired their commercials for Seagram's 
Crown Royal Canadian whisky on a local cable station in 
Texas. Despite protests from alcohol-control activists, the 
walls came tumbling down as the rest of the industry 
followed Seagram's lead. Because of lagging liquor sales in 
favor of the wine and beer industry, DISCUS decided to end 
their decades-long self-imposed television and radio ban — 
perhaps signaling the end to pop-up print ads for alcoholic 

The three-dimensional Smirnoff insert (conceptualized by 
New York-based advertising agency Lowe and 
Partners/SMS), showing a man in his bathrobe holding up 
glowing batons as he directs Santa's reindeer to follow 


blinking lights to a soft landing on his snow blanketed 
roof, did appear in December 1996. With television 
advertising now available, it may be the last pop-up ad for 
a distilled spirit we'll be seeing in a long, long while. 

As the '90s were coming to a close, and a new 
century and a new millennium were in the horizon, the 
term "pop-up ad" took on a second meaning. Definitely 
not as delightful as the three-dimensional pop-up ads we 
cherish in the real world, these virtual "pop-up ads" were, 
to put it mildly, pesky windows that would unexpectedly 
appear while one was surfing through cyberspace. With 
this new intrusive medium came talk about the demise of 
publications -- and, maybe along with it, the wonderful 
tactile movable that would occasionally appear in our 
favorite magazines. 

Could a virtual "magazine" offer a real tactile 
pop-up? A quick check of some websites uncovered the 
following "free" movables and paper toys. From paper 
engineer and designer Tracy Sabin's site 
one can download the first four of a set of 20 "building 
projects" called "PaperLand." 

All 44 templates for David A. Carter and James 
Diaz's The Elements of Pop-up can be downloaded from 
< cfm?areaid= 1 8 
3&pagename=elementsjx>pup >. At Michael Dawson's 
<> site one must answer a 
"light-hearted pictorial quiz" composed of 12 questions 
for a chance to win a special-designed pop-up by Robert 
Sabuda. If the quiz is correctly completed, one will receive 
"full instructions and everything needed to make this 
unique gift — probably the first working pop-up greeting 
to be sent via cyberspace." 

These "free" paper toys however have to be printed 
out, cut and assembled (yep, it's like Woman's Home 
Companion on the web, if you ask me), depriving the 
recipient of the instant gratification a tangible movable in 
a meatspace magazine provides. I'll take the 
ready-to-serve pop-up cup of General Foods Cappuccino 
(perhaps the last three-dimensional magazine ad of the 
century that just passed) anytime. 

When asked what she thought of the interactive web 
magazines of the '90s, Fleur Cowles, the woman behind 
the interactive magazine of the '50s, answered: 'XThese 
"netzines" will never replace the printed word." Let's 
raise our cups of Cappuccino, our bottles of Absolut 
Vodka, and drink to that. Here's to more magazine 
movables in the 2 1 st century! 

European section, continued from page 4 

We got the opportunity to see a whole series of items, 
ranging from a very early tunnel peepshow from the 1 840s, 
a great Lane's Telescopic View of the Great Exhibition 
( 1 85 1 ), a rare German Erinnerung an Niirnberg (Memory of 
Nurnberg) from the second half of the 19 th century, several 
of the Werner Laurie Showbooks from the early 1950s, both 
peepshows produced to commemorate the coronation of 
Queen Elizabeth II (1953 and 1977), the series of four 
Magic Windows done by artists including Tomie de Paola 
and Edward Gorey for Putnam's Sons in 1984. There were 
also recent ones, the three Gaiarama peepshows published 
in the 1990s by White Eagle of Willits, California. 

Other guests picked up the theme of the meeting and 
showed the results of their own paper engineering activities. 
A bird watcher showed a nice panorama of endangered 
species in their familiar Dutch habitat of dunes and 
meadows. A couple fond of penguins used them to surprise 
each other with one-of-a-kind pop-ups for special occasions. 
They showed their most recent Easter greeting, a pop-up of 
penguins in an icy landscape (intriguingly done by the use 
of wave-paper known from Christmas decorations) with an 
Easter hare popping up by the pull of a tab. 

Other curiosities that popped up were Grimaldi's A Suit 
of Armour from the 1820s and even a copy of Georg 
Bartisch, Augendienst, a rare pictorial record of Renaissance 
eye surgery in which some of the woodcuts show the parts of 
the eye in various layers as they are viewed in dissection by 
means of movable anatomical flaps. It was originally 
published in 1583 but was shown in a facsimile edition 
purchased by its owner the previous day in a German 
antiquarian bookshop. 

Since the round took time and the two presentations 
planned for the morning session were going to suffer, the 
convener ingeniously showed her flexibility by incorporating 
the presentations in the round. She allowed more time to the 
presenters. Mrs. Astrid Feuser, a German artist who showed 
some of her artistic one-of-a-kinds that excelled in their 
complete lack of glue-points (but having the more staple 
points). They were offered for sale the rest of the day. 
Professor Bodo Boden from Bochum University showed 
examples of pop-ups on the theme "Waiting Rooms" (in an 
hospital, at the airport, at the laundry, etc.) done in blanks 
by his architectural students and leaving to him a wonderful 
collection of some 70 nice examples. Some more time also 
was given to Mr. Harald Mante, a German professor of 
photography who showed great photograph ical pop-ups done 
both by himself and by his students. The last two 
presentations elicited the remark that helps to enrich your 
collection by being a teacher - or by marrying an 
antiquarian bookseller. 


The morning session closed with the presentation of 
the award for the best movable card made by the 
participants to announce their attendance. The prize- 
winning item was an elaborate, nicely designed and 
ingeniously engineered movable scene of a Beast (?) 
kissing a Beauty by pulling a tab, sent by the Belgian 
collector Mr. Francois de Geest. Evil tongues suggested 
that this item had only been chosen because the president 
of the jury thought she recognized herself in the Beauty. 

Lunch was served next door in an historic restaurant 
with its own in-house brewery, still sometimes found in 
Germany. Enjoying the good food and the home-made 
beers, the people took the opportunity for social exchange, 
showed recent purchases, made new contacts or analyzed 
the special items that were shown in the introductory 
round. Many guests changed places to take the opportunity 
to talk to collectors or to the paper engineers Kees 
Moerbeek, Carla Dijs, Antje von Stemm and Rene 

Information about upcoming European exhibitions of 
movable and pop-up books preceded the afternoon session: 
the collection of Mrs. Hildegard Krahe, in Salzburg; books 
from the collection of the International Youth Library, in 
Munich; an exhibition in Recklinghausen in September, 
as a sequel to this meeting; and an exhibition from the 
collection of Mrs. Hase, in Bietigheim-Bissingen near 
Stuttgart (in 2003). 

The first presentation in the afternoon was done by Mr. 
Wolf-Eckardt Irmer who prepared a very informative talk 
about "baptismal letters" and their history. They are a 
paper ephemera form used around births and christenings 
since at least the end of the 16 th century. The nicely 
illustrated letters, picturing all kinds of symbolic items 
relating to human birth, life and death and Christian 
belief, are ingeniously folded to form kind of an envelope, 
and enclose the gift of the godfather or godmother, a 
(precious) coin like a "Thaler" or a "Ducat." Mr. Irmer 
showed us a wonderful selection from his extensive 
collection that usually can only be seen in his private 
museum in Herten, Germany. At least one of them was a 
real pop-up: kind of a better known 19 th century Valentine 
card folding down three-dimensional ly with its envelope 
glued on the backside. Apparently the baptismal letters 
were a common practice in the German-speaking 
countries of Europe (Germany, Austria, Switzerland). 
They were also known and used among 19 th century 
German emigrants in the United States. Very few 
examples were known from other European countries. ' 

A question from the audience about how the letters 
were folded proved to be the signal for the organizers to 
distribute spreads of an historic do-it-yourself letter with 
an accompanying instruction leaflet. They also opened 

their treasure box which hid for every guest a 
"prefabricated" baptismal letter, already folded, covered in 
a two-toned green outer paper and completed with an inlaid, 
likewise green, German twenty Mark note (unfortunately cut 
up in small pieces since the Mark recently has disappeared 
from the market, exchanged for the Euro!). It was a great 
and witty gesture from the organizing committee that was 
highly appreciated. 

Mrs. Antje von Stemm, the only female German paper 
engineer, in her own funny way told about her work and how 
she started in the field only a few years ago. She reminisced 
about being a student of children's book illustration at the 
Hamburg Design Academy and going to the Bologna 
Children's Book Fair with her first (as she now knows 
"completely impossible") dummy of a pop-up picture book 
of 35(!) pages. It was only there that she learned of the 
existence of the special profession of "paper engineer" and 
of firms that specialized in pop-up books. The visit to 
Bologna brought her an offer to go to the United States to 
work at the studios of James Diaz's White Heat and to learn 
the profession. She gratefully accepted and planned to go 
there for two or three months in 1995. It turned into a stay 
of one year and a half years until she could no longer extend 
her visa. During that time she had the opportunity to work 
with such people as Lynette Ruschak, Olivier Charbonnel 
and, of course, the eminent paper engineer James Diaz 
himself. Her first published book was Space Detectives 
(Chronicle Books, 1996), a boxed mixture of a pop-up book, 
a mini jig-saw and a finger puppet. It was a very productive 
time at White Heat that also brought forth her Nightmare 
Hotel (1997) and Nightmare Cafe (1998), both peopled by 
rather eccentric characters, testifying of her grotesque 
imagination and special kind of humor. She talked with 
wistfulness of her great time with Mr. Diaz and his 
impressive way of supervising. 

Back in Europe she had to finish her studies. She did so 
with the award-winning do-it-yourself pop-up Fraulein Pop 
und Mrs. Up (Rowohlt, 1999) (reviewed in Movable 
Stationery, November, 2000). She told how difficult it was 
to get a "real" pop-up book published in Europe. As a result, 
she decided to do this as a do-it-yourself book since the 
publisher didn't have experience with pop-ups and only 
agreed to publish a "normal" book. Mrs. Von Stemm was 
not sorry because it gave her much more freedom of design 
while not being limited by glue points or the amount of 
paper available. She showed the dummies of how the book 
came into existence - starting with an almost mini-dummy 
since "it doesn't hurt too much to throw away such a small 
booklet when the project proves to end in nothing." A sequel 
followed in 2001 as Fraulein Pop und Mrs. Up und das 
Abenteuer Liebe. Of course many people had their finished 
copies of both books to be signed! Making a virtue of 
necessity she now mostly does do-it-yourself designs 
(movable or three-dimensional), published on special, heavy 


paper within the parts of a series of kid's reference books. 
Four or five parts are published a year by Rowohlt. 
Likewise, contributions can also be found in the high 
quality German children's magazine Der bunte Hund 
(Beltz & Gelberg). 

The final presentation came from Mr. Kees Moerbeek. 
He surprised the audience by showing a video of the 
making of his most recent book Diary of Hansel and 
Gretel, which had been published only a few weeks 
previously by Simon and Schuster. The video went from 
the first pencil notes about the contents of the six spreads 
and the first scribbles of the design of the illustrations. He 
showed the origins of parts of the illustrations from all 
kinds of sources, how he scanned them, and cut and mixed 
them up in the computer until he had the finished dummy. 
The video continued through the production process in 
Colombia and Ecuador and ended with the delivery of the 
finished books at the publisher's warehouse in New York. 
It was a great survey of the making of a book, filmed and 
mounted by his wife Carla Dijs and their daughter Liza, 
specially done with a German voice-over for the 
Recklinghausen meeting. The end of the video showed its 
special dedication to the organizers of this very day! The 
gesture brought warm applause from the audience. A 
small number of copies of the video were available for sale 
and sold out in no time. 

Mr. Moerbeek also showed two new Roly Poly Books 
published last autumn by Child's Play in the US. He 
explained why the series (including the reprints of the 
earlier parts now totaling five volumes) was blown up 
from the earlier 65 x 65 x 65mm to the current 85 x 85 x 
85mm. It is a matter of "value for money" that counts in 
the American market whereas the British market proves 
to be more sensible of the principle "small is beautiful." 
He also showed how elements of an earlier dummy for a 
Christmas book, that was rejected by the publishers, had 
been reused in the Roly Poly Countdown to Christmas - 
giving us (again) a small peek behind the scenes in the 
studio of a paper engineer. He also showed his new book 
that will be published in the fall by Simon and Schusters 
Your Monsters are in Charge, a counting book with fold- 
downs that grow over peopled towards the end. 

A further dummy took up the idea of Mr. Moerbeek's 
first book, Hot Pursuit (1987), with pop-ups that can be seen 
forward and backward with different images. The refinement 
this time can be found in the use of topsy-turvies to illustrate 
the flat parts of the spreads creating the impression of a 
completely different book when the "first" book has been 
read and the book is turned upside down to read the 
"second" one backward-forward. 

The best, however, was reserved for the last. Kees 
showed two new works-in-progress that brought the 
audience from their chairs! The first, a great (and tall) 
dummy of The Grimm Stories will contain two elaborate 
spreads with paper artwork of a kind that has not been used 
in a pop-up book until now (but which was foreshadowed in 
some earlier rejected dummies seen by the visitors of Kees 
and Carta's "Spooky Party" in their studios in November 
2000). The first, and only finished spread, brings the 
pillared interior of Sleeping Beauty's castle with the Knight 
on his white horse riding in, followed by a double spread 
with the text of the fairytale in calligraphy decorated with 
ornamental capitals and borders to give the illusion of a 
medieval manuscript. Not satisfied by the illustrations ofthis 

dummy, Kees started another project for which he went on 
to experiment with all kinds of computer possibilities. It 
resulted in another dummy that was worked out into its 
finesses: a one-spread book showing a scene from the 
fairytale of Rumpelstiltskin set in scenery heavily 
reminiscent of the Renaissance pictures of the Flemish 
Primitives and done in the extremely bright colors of those 
early masters. The whole looked so beautiful and warmly 
colored that one felt it almost pity to imagine the dummy 
printed, reducing its brightness by the poverty of modern 
printing techniques. The dummy, with knotted right upside 
and downside corners resulting into an octagonal spread 
when opened, was laid down into a rectangular box from the 
inside pasted with velvet-blue heightened with French lilies 
in gold. The whole having more the look of a paper 
sculpture art work than a dummy for a future book! 

Kees realized that this dummy will never be published by 
a regular publisher since it would be too expensive to 


produce. When questioned why he worked on such a 
dummy knowing beforehand a work like this will never be 
published, he answered briefly "by passion." It is typical 
of him and at the same time the answer brought him in to 
the heart of the assembled collectors. Let us hope he will 
pick up Mrs. Wienhofer's suggestion to bring out a 
limited edition of the work as an artists' book produced by 
himself in the colors shown. 

Everybody felt we had just seen an ultimate work of 
pop-up art - self-made, reflecting the theme of the day, 
but by a master of the profession! No more had to be said 
or shown: this was the natural ending of a magnificent 
day. Downstairs there was tea and "kuchen" again. There 
was enthusiasm; a last opportunity to talk; another chance 
to see the exhibited items; to swap and buy, to plunder the 
boxes of books brought by Kees Moerbeek, Carla Dijs and 
Antje von Stemm; to get copies signed (some were so 
lucky to have even an extra picture in them); to show off 
gems from their own collection; and to start packing for 
the journey home and to kiss goodbye. But it stayed noisy 
for a long time in and around the Kutscherhaus. The real 
die-hards decided to have a farewell drink in the brewery 
next door and 20 of them disregarded the surprised 
glances of the pub visitors as they talked in all languages 
about movable and pop-up books. The open end of the day 
as announced in the program was taken literally: I don't 
know how long the chats lasted as I had to take the last 
train back home. 

And only in the train when the whole day passed my 
inner eye once more did I realize there had been one big 
fault in the otherwise perfect organization! The open 
ending meant - was it on purpose? - that we didn't get an 
official opportunity to thank the organizers and to praise 
all the work they had done. Though surely the people said 
it in person when saying "goodbye," I am happy to have 
the chance to do it here publically, on behalf of all your 
guests of that wonderful day in springtime 
Recklinghausen: Mrs. Friederike Wienhofer, Mr. Ulrich 
and Mrs. Hildegard Tietz (and Mr. Wienhofer who proved 
helpful behind the scenes), thank you very, very much for 
the great meeting you prepared; the warm welcome you 
gave to the people who came from so far; the perfect 
organization of the program and the flexibility of its 
execution; the matching presents you gave to us; the 
original presents as made by Mr. Tietz for the speakers of 
the day, and the matter of course and unselfishness with 
which all this was done! 

For Mr. and Mrs. Tietz, an extra compliment for the 
enthusiasm with which they bring the love of the movable 
books to their pupils in school - as we were able to 
experience by the examples exhibited and the kids in 
attendance proudly cutting, folding and glueing, when we 
arrived. All this will be remembered! 

Hunt interview, continued from page 1 

K: Is it 1973 that marks the birth of Intervisual? 

W: Yes. I think that we officially say 1975, but I started 
developing Intervisual Books in 1973. That's when I moved 
from Hallmark in Kansas City. And I had a year and a half 
non-compete, so I didn't put my books on the market until 
1974, 1975. 

K: OK. So when you came back here with your family you 
had a non-compete agreement. I imagine that must have 
been a time when you were hustling to get some business 
going, pretty much all money going out and none coming in 
for a couple of years. 

W: Oh yes, yes. I started all over again, typing my own 
letters, wrapping my own things, at the age of 53. 

K: Were your children almost raised then? 

W: They were going into high school and junior college. 

K: So you had agreed not to publish any books until 1975. 
I've pulled this list of 1975 pop-up books from Ann 
Montanaro's books - are there some titles that are yours? 

W: OK. I sold Aladdin and the Wonderful Lamp to Random 
House, who bought 50,000, and in 1975 we did Aladdin as 
a carousel, which we sold to Chatto and Windus in England. 

K: What else can we identify as some of the first Intervisual 

W: Hansel and Gretel. We did that as a carousel. 

K: That whole carousel series was pretty large. There must 
have a been a number of titles - Thumbelina . . . 

W: Eight or ten titles. Thumbelina was the best of the series. 

K: Yes, I like it a lot. 

W: Chatto and Windus 
published the carousel books 
that were originally done in 
the '50s. 

K: Were those the books by 
the illustrator, Pym? 

W: Yes, and because they 

had been publishing them I 

went to Chatto in London and said I'm going to come out 

with new books and I paid them a royalty on all my new 

books. It wasn't that I really owed them a royalty, but 


Sebastian Walker was there, and he later became Walker 
Books. We co-published the Fairy Tale Houses and Fairy 
Tale Castles with Walker Books. Sebastian Walker 
became the leading novelty book publisher in England. 

W: Do you know who Roger Schlesinger is or was? 


W: Roger was the brother of 

John Schlesinger, who did the 

movies Sunday Bloody 

Sunday and Midnight 

Cowboy - a very famous 

movie producer. And Roger 

was the guy who imported the 

Czech books from Artia to 

England, and eventually into 

the United States. It was those 

books that really got me started. I made Roger my branch 

manager in London, and all the books I did for Hallmark 

and Random House were sold in England by Roger 


K: His name's on the title here, the Three Little Pigs. 
That was a carousel too. 

W: Yes. It was part of that series. We did it in a number 
of different formats. 

K: Do you see any books listed here for 1976 that 
Intervisual produced? 

W: Okay. 1976 was more exciting. All Kinds of Cats was 
one of the first books we did as Intervisual. I sold it to 
Scholastic, 50,000 copies. 

You know, when you've got something that rhymes, your 
mind makes it what you want it to be. The book was on the 
dock in Columbia, 50,000 copies, going to Scholastic, our 
first order. I called Arnold Shapiro our Office Manager and 
Creative Director and said, "Arnold we've got to do 
something." So we sent it back to the factory. We pasted on 
a piece of paper that worked into the layout and changed the 
word before we delivered it. It was a glue-over, but you 
couldn't tell because it was added to a cat's tail. I doubt if 
anyone ever noticed it. That I'll never forget. 

K: Did you produce Cookie Monster for Random House? 

W: No, we weren't doing Random House books because I 
had turned everything over to Random House when 
Hallmark had me producing for them. My close personal 
friend, Jerry Harrison, was running the Random House 
operation, and he did all the Sesame Street books. We 
started doing religious books for a company called David C. 
Cook in Elgin, Illinois. It was Joe's idea. Mickey 's Circus 
Adventure was ours. That was a mini pop-up in 1976. And 
Nicola Bayley's Puss in Boots was also published in 1976. 

K: That is a beautiful book. 

W: She had just done Tiger 
Voyage, which was a best 
seller internationally, in two 
dimensions. Puss in Boots 
was the first time, to my 
knowledge, that a best 
selling, international 
illustrator ever did a pop-up 

K: That is a real hallmark. 

K: You remember that one fondly. That paycheck must 
have looked very nice. 

Tl«- I k««-vt. v mill lit- 1 WJ«T 

W: Yes, and there is one 
line in that book that I'll 
never forget: "There are 
cats going over and under 
too, cats going around and 
cats going through." We 
misspelled "through." This 
is for Scholastic, right? I 
was having lunch when I 
showed the book to a 
fellow, and he said, "Oh, 
you did that on purpose, 
didn't you?" 
"T.H.O.U.G.H." It was not "through," but was "though. 

In Krirl'«rV 

W: And it was expensive; it retailed for $3.50. That was a 
lot of money then, but the book was a stepping stone. Then, 
in 1 979, we did Haunted House. 

K: That was a giant step for Intervisual and for pop-up 
books. It seems that Haunted House is the book that really 
got a lot of people interested in pop-up books. 

W: It won the Greenaway Medal and it was on the best 
seller list in London and New York. Up until then, pop-ups 
were not really recognized; they were toy books. All of the 
Artia books, the ones that I bought in the sixties, were sold 
out of bins for a dollar. Teachers and librarians didn't 
consider them books; they were toy books. They were like 
comic books. So, it was Nicola Bayley's book, Pierikowski's 
Haunted House, Eric Carle's book The Honeybee and the 
Robber, and The Human Body by David Pelham that helped 
elevate pop-up books to a higher stature, to a real book level 


K- They were seriously 
considered then. 

W: Right. 

K: Recently Intervisual has 
put out Haunted House in a 
smaller size, about 8 by 5 
inches in cover size. 

W: Here it is. It was out of 
print in the United States 
and London after we had 
produced over a million 

K: I like the smaller size a lot. Is it on the market now? 

W: I found that we could make the book absolutely 
complete in the smaller size and we could sell it for half 
the price. You see, when you do a book like this the 
cheapest thing we have is not paper, it's not shipping, it's 
hand labor. So, when you do something like this in the 
larger size you have a lot of weight. This will cost 35 - 40 
cents just to ship it to London or New York. The smaller 
size may cost about 1 5 cents. So the value is there in the 
book itself. 

K: Of the talent that you have worked with, John Strejan, 
lb Penick, Keith Moseley, David Carter, Ron van der 
Meer, Nick Bantock, Jan Piehkowski, Kees Moerbeck, Tor 
Lokvig, David Pelham - who would you like to talk about? 
How about John Strejan. What would you say his strengths 

W: He is a genius. His title among the paper engineers is 
"The Silver Blade." 

K: "The Silver Blade" because- 

W: Because of his white hair, but he is also extremely 
talented. John could design a book and also do the 
engineering to make the book work, and that's what 
Sabuda can do and that is what Diaz can do. To be able to 
design a book, to capitalize on the engineering, to make 
an exciting, effective book, and also be a paper engineer 
is a very rare quality. My friend Elgin Davis, who 
unfortunately died a year ago, had this wonderful studio. 
He was both a good businessman and a wonderful creative 
mind, and that is very unusual. You find often that a good 
businessman is good with numbers, but not with doing 
something creative, or you find that the good creative 
people are lousy businessmen. Isn't that basically the rule? 
Then there are a few people who are both, and John 
Strejan was one of them. Many of the National 
Geographic books that he did are among the finest 

dimensional books ever done. Dinosaurs has 285 glue 
points, and it's not just the number of glue points, but 
everything works. In a really good book, the actions you 
create are realistic; they're not artificial. You don't just 
move the little boy from here to there; he is doing 
something. Or the animal is doing something. That is 
designing and incorporating paper engineering to its greatest 

K:. Keith Moseley. 

W: Keith is one of those rare, talented people. He can design 
and he can paper engineer and he can illustrate. All three 
phases. Tor (Lokvig) is weak on design and illustrating but 
he's a super technician! 

K: Probably one of the best if you want something to work 
really well. 

W: Definitely, because he was trained by Penick. And there 
is something else. I don't know what the element is, but 
somehow the Scandinavians seem to have a leg up on this. 
The Japanese and the Scandinavians come from a wood 
culture when you think about it. They make furniture and 
other wonderful things out of wood. The Japanese, the 
Chinese - the fan, the shoji screen, the umbrella, origami. 
All those things. It's part of their heritage. Scandinavians 
are the same way. I'd say the best carpenters in the world are 
Scandinavian. So when some of these people get to pop-ups, 
it all just kind of fits. There has to be something there. 

K: David Carter worked for you. 

W: Yes. David is a designer and a fine artist. His books 
don't always reflect his ability to do art, fine art. And he's a 
paper engineer. He does it all. He started out as an artist, and 
came then to work for us and learned the other techniques. 
And he's the most successful of all of them. Dave Carter is 
most successful in his line of bug books. He has done 8 
million. That's the most successful single line in the history 
of pop-ups. Haunted House and some others have done well 
as individual books. But Dave's books, as a total line, are the 
most successful. 

K: Ron van der Meer. He was here too. 

W: Ron is totally extraordinary. He started out as a teacher. 
He was teaching in England when he did his first book for 
us, which is Sailing Ships. 

K: His first book for Intervisual? 

W: Yes. He had done some children's books earlier, 
including Fungus the Bogeyman Plop-up Book, which I 
liked. But I couldn't find an American publisher for it It 
was too exciting. We had a little problem with Ron. Ron is 


an artist, but he's not a realistic artist. I wanted the Sailing 
Ships book to be realistic. So we had a little argument, and 
he decided he didn't want to do it. So we paid him a 25 
cent royalty for not doing it. And I brought in Borje 
Svensson, who did the realistic art in oil and strengthened 
the engineering. He was a wonderful talent, Svensson, a 

K: So this was Ron van der Meer's first book for 
Intervisual - but Ron really didn't have much to do with 
it? Is that correct? 

W: He inspired it and was responsible for the text so he 
claims it's his book. We passed that up and continued to 
do all kinds of things with him, but he never worked here. 
He lived in London. 

Structural firsts, continued from page 3 


or even a simple thank you. 

The Poppagram - 
creates a 
dimensional out of a 
single sheet of paper 
using die cutting 
and folds. The 
poppagram is an 
extremely versatile 
advertising tool, 
useful as an invite, 
promotion, reminder 

K: But he would come here to visit you and Intervisual 
and was part of the Intervisual family at one time? 

W: Absolutely. Absolutely. Ron always said, "Look, I'm 
teaching school. I'm going to do a couple of books a year 
and I'm not competing with you" (Laughing) But the guy 
was extraordinary. And in addition, he's an historian - the 
work he did on The Working Camera, The Architecture 
Pack, and The Art Pack and so on. He finds people who 
are authorities in given fields and has them to do the 
research. Then he comes and melds that. It was always a 
wonderful, talented contribution. 

K: He produced some wonderful books and I suspect he's 
a pretty good businessperson. 

W: Well, Atie his wife was the businessperson. Ron had 
the red shoes and the creative talent. 

K: His wife was the businessperson? 

W: His wife was. He had a tough wife helping to run his 

K: Sounds like it was a good idea. 

K: Jan Pierikowski. 

W: A very fascinating guy - a Polish refugee during the 
big war. His family came from Poland, went to Italy, 
ended up in London. Extremely talented. He's not a paper 
engineer, not an artist; he's a designer. He gets good 
people to work with him. He's certainly one of the most 
talented people in the industry and he's been marvelous 
for us. 

The conclusion of this interview will appear in the August 
issue along with a bibliography of all of the titles mentioned 
in the interview. 

The Book Cube - a rubberband activated mechanism 
allows this unique piece to at first appear to be a simple 4 
page brochure. Opening the "page" causes it to spring into 
a fully dimensional 6-sided cube. Since its inception in 1 996 
this popular design has been used by dozens of advertisers. 

The Automatic Changing picture delivers a "Venetian 
blind-like" mechanism which transforms one image into 
another simply by lifting the cover panel. We have produced 
our automatic changing picture design for literally hundreds 
of projects. 

The Extendo presents itself as a simple pull-tab 
mechanism but when pulled, extends on both the side being 
pulled and its opposite side as well. One of our most recent 
patents, this design is proving to be one our most popular. 

The Flip does just that. One side of a die cut image 
magically spins and "flips" to its rear side when an 
activation panel is turned. This design is particularly 
effective when used in its CD delivery format. 

The CD delivery format mentioned above reflects the 
changes that have taken place in the dimensional marketing 
industry. The onset of the internet and computers in general 
has created the need for advertisers to branch out, delivering 
advertising messages in non-traditional advertising formats. 
As a result Structural Graphics finds itself with a complete 
line of CD Carriers for both direct mail and collateral uses. 

Other notable projects include a promotion for Mitsubishi 
Motors. When they redesigned their Montero SUV they 
wanted to deliver promotional information in a unique 
manner. We accomplished this with a fully dimensional 
paper replica of the car that "accordion" folded out carrying 
the info on its inner panels. 


Our Kaleidecyle and Rolling Cube designs both "roll" 
into themselves. Multiple surfaces twist and roll providing 
a variation of surfaces for advertising messages that can 
change with each move. 

In wanting to attract businesses to its city the 
Pittsburgh Conventions and Visitors Bureau had 
Structural Graphics design a 12"-high pyramid with a 
cone top. Lifting the cone off the base allows the sides of 
the pyramid to unfold revealing a fully dimensional 
replica of the Pittsburgh skyline. Info was carried on the 
inside of the folded down panels. 

For Sun Microsystems we built an exact to-size paper 
replica of their Java station. The replica was collapsible, 
making it a perfect sales aid and handout. 

For Lipton there was a 
"flat" iced tea dispenser POP 
piece. The piece is 
rubberband activated 
eliminating the need for its 
assembly by the retailer. 
Simply removing a paper 
band caused the piece to self 

Sun Microsystems 

For IBM we created a premium mailer package that 
included two pair of decoder glasses. The printed 
pamphlet included hidden messages that were revealed 
when looked at through the glasses. 

There have also been many instances where two or 
more dimensional mechanisms were combined for 
advertising impact. To promote Vlasic Foods' new burger- 
size sliced pickle, we created a folder/information kit that 
features an iris changing picture on its cover which 
changes images by sliding a tab and also activates a sound 
chip. Inside the folder was a large pop-up 

For HBO's premier of 
the blockbuster Titanic 
we developed an 
alternative to a standard 
pop-up format, with the 
4-page magazine insert 
using a life preserver to 
replace the "O" in the 
cable company's familiar 

logo. Opening the spread causes the life preserver to move 
down into position and, for added effect we actually 
included the "rope" that most life preservers have. We 
used string to replicate this effect. 

HBO Titanic 

Questions and Answers 

Q. I just saw "Pandeaemonium," a BBC Film (2001) 
released on DVD. It is about Samuel Taylor Coleridge and 
his relationship with William Wordsworth. It is a fine film 
in my estimation and certainly worth seeing. But the reason 
I write is because at the very end of the film Coleridge is 
reading "Kubla Kahn" to his children and as he turns the 
page it becomes apparent that it is a pop-up book, ad the 
pleasure dome, I assume, pops up. Are you aware of an 
actual pop-up book of the poem published in the 19 th 
century? Coleridge's dates are 1 772- 1 834 and the poem was 
published in 1816. 

Allen Cohen 

Santa Barbara, California 

A. [In the February newsletter Lin Sasman asked who won 
the Simon & Schuster contest for a new pop-up book.] I 
entered the Little Simon contest for unpublished pop-up 
artists. When my entry was returned, I was told that they had 
not chosen a winner because none of the entries met their 

Lise Melhorn-Boe 

North Bay, Ontario, Canada 

Q. How can I purchase a copy of the Berlin Pack described 
by Theo Gielen in the last newsletter? 

Susan James 

A. The bad news: unfortunately the book appears to have 
sold out. I contacted the publisher and they told me the book 
is not currently available but that it will be reprinted. The 
good news: there will be an English edition of the book . Not 
surprisingly, It will be entitled Tlie Berlin Pack and the 
ISBN number is 3-7607-2016-1. It costs 59.00 Euro. 

Theo Gielen 

Q. I ordered a copy of MenOop through their web site 
<>but I have not yet received it. Do you 
know when it will be available? 

Patricia Curtis 
Salt Lake City, Utah 

A. I understand there have been production delays and the 
book will not be available for several months. 

Ann Montanaro 
East Brunswick, NJ 

Q. A recent review in the New York Times featured a new 
software program designed to keep track of collections. It is 
MyStuff, made by a company called Collectify, and is 
compatible with Windows95 and later. It sells for $99.95 but 
can be downloaded for a free 30-day trial from Do any readers have experience with 
this software? 


Catalogs Received 

Aleph-Bet Books. Catalogue 69. 85 Old Mill River Rd. 
Pound Ridge, NY 10576. Phone: 914-764-7410. Fax: 
914-764-1356. Email: helen@ 

Cattermole 20 th Century Children's Books. Catalog 36. 
9880 Fairmount Road, Newbury, Ohio 44065. 440-338- 
3253. Email: 

Jo Ann Reisler, Ltd. Catalogue 57. 360 Glyndon St., 
NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- 
9057. Email: 

Sevin Seydi Rare Books. "A Miscellany of Books 1510- 
1968." 13 Shirlock Road. London NW3 2HR England. 
Phone: 020 7485 9801. Email: 

Henry Sotheran Limited. Catalogue 1052. 2 Sackville 
St. Piccadilly, London W1X 2DP. Phone: 0171 439 
6151. Fax: 0171 434 2019. 

Unicorn Books. "Pop-up Books, Novelty Books, 
Greeting Cards, Calendars, Games, Blotters, 
Notebooks." Sheila Feller. 56 Rowlands Ave., Hatch 
End, Pinner, HA5 4BP, England. Phone:0181-420- 
1091. Fax: 0181-428-0125. Email: 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or 
advertising. AH titles include pop-ups unless otherwise 

Animal Popposites: A Pop- 
up Book of Opposite s. By 
Matthew Reinhart. June. 
Little Simon. 7" x 7". 6 
spreads. $13.95. 0-689- 

First-base Hero. By Keith 
Hernandez. 10" x 10" 14 
pages. Golden Books. 

The Giraffe who Cock-A- 
Doodle-Doo d. By Keith 
Faulkner. Dial Books for 
Young Readers. 10" x 10". 
16 pages. $12.99. 

In a Dark, Dark Wood: An Old Tale with a New Twist. 
David Carter. August, ["redesigned, reformatted, and 
features a brand-new cover and new art throughout..."] 
x 10". 24 pages. $10.95. 0-689-85280-0. 

My Dream Bed: Loads of 
Tabs and Flaps and Wheels 
and More. Cartwheel Books. 
10" x 10". 17 pages. $16.95. 

Night Sounds: Play the 
Sounds, Pull the Tabs. 
[transformational plates with 
sound module]. Innovative 
KIDS. 9" x 11". 18 pages. 

Also: Bird Calls. 

The Princess and the Pea: A 
Very, Very Short Pop-up 
Story. August. Little Simon. 
8" x 8'/2". 14 pages. $14.95. 0-689-84685-1. 

Wake Up, Buttercup: With 
Flaps to Lift and Tabs to 
Pull. Ken Wilson-Max. Red 
Wagon. 8" x 8". 18 pages. 

Can We Play? A Pop-up, Lift-the-flap Story About the 
Days of the Week. By Mara van der Meer. 10" x 10". 8 
spreads. Abrams. $14.95. 0-8109-0379-2.